Chad Tamis Bill McKinnon Marc Damant Rick Waines

Transcription

PNW D I V E R
SUMMER 2016
Featuring:
Chad Tamis
Bill McKinnon
Marc Damant
Rick Waines
and more…
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01 About the Magazine
SUMMER 2016 PNWDiver
Editor/Publisher
Kerry Enns
Editors
Dale Carlisle
Dan Clements
Creative Consultant
Talia Cohen
Archive Consultant
Dale Carlisle
Washington Contact
Dan Clements
425.418.8755
Oregon Contact
Laura Tesler
BC Contact
Cover photo by Marc Damant
Canon T2I in an Aquatica Housing using Canon 100mm macro and + 5 diopter, f22, 1/125sec
Kerry Enns
604.807.7249
Mailing Addresses
The Pacific NorthWest Diver Magazine is published quarterly and is a publication of
the Pacific Northwest Underwater Photographic Society, which is an organization formed to
encourage interest and participation in underwater photography. The organization’s central goals
In Canada:
34965 Seneca Court
Abbotsford, BC, V2S5N2
are: to provide an environment where photographers can help other photographers improve
their skill; to promote Pacific Northwest underwater photographers; and to share the beauty of
our underwater environment with the non-diving public. If you have an idea for a story or would
like to present an article for consideration, please contact the editor/publisher.
In United States:
1619 Edgemoor Lane
Everett, WA 98203
Membership is Free!
In order to subscribe to this e-publication, please
complete the form on the Subscribe page on the website.
E-mail addresses are not shared with other groups or
businesses. We need an accurate count of subscribers to
assist with sponsorships and travel.
This publication is free, and no advertising or trade-outs
are accepted. This is made possible because of generous
contributors willing to share their work without charge.
Every effort is made to avoid errors, misspelling and
omissions. If, however, an error comes to your attention,
please accept our sincere apologies and kindly notify us.
No part of this publication may be used without written permission
from the publisher. ©2016
Polyorchis penicillatus at Bamfield Marine Sciences Centre ©Chad Tamis
Departments
Features
News & Technical
13 NorthwestRockfish
52 Snoot Photography
56 Camera Sensors
59 Freediving & Photography
63 Videography Part 7: Shot
04 From the Editor
05 Into the Archives: Diving
Goes to the Movies
50 Safety: Solo? Me?
74 Dive Travel: Avoiding Dive
Travel Anxieties
84 Your Lens. Your Story.
87 This Issue’s Contributors
©Bill McKinnon
Blocking
21 Chad Tamis
30 Marc Damant
37 Rick Waines
43 Bill McKinnon
80 Mike’s Beach Resort (WA)
82 Sunshine Dive Charters (BC)
©Chad Tamis
65 Adobe’s New Tablet Tools
67 Photoshop on iPad
68 Adobe CC 2016 Release
69 ARSBC Mooring Project
71 Vancouver Island May
Extravaganza
72 Halkett Marine Park
Expansion
©Marc Damant
04 From the Editor
“I think that our fundamental belief is that
for us growth is a way of life and we have to
grow at all times.”
-Mukesh Ambani
Almost two years ago we changed the format of this magazine. This led
to bigger issues and bigger images and more detailed articles. In fact, this
is the biggest issue yet! It’s time to make some changes again. Not big
ones, and not necessarily only to changes in the way the magazine looks,
although that’s a part of it.
You will notice more white space and breathing room. This is to let the
images rest on the page without too much competition. Stop and enjoy
the works of these awesome artists: Chad Tamis, Bill McKinnon, Marc
Damant and Rick Waines.
Steve Taylor challenges us with snoot photography, which takes our
lighting to a new level. Rick Waines takes on the challenge of photography
while breathhold diving – a subject near to my heart. Andy Lamb joins the
team to educate us on the various Rockfish of Howe Sound. How timely.
Upgrading isn’t just limited to photography. Alan Wong tells us about the
Mooring Buoy Reno Program. Adam Taylor focuses on the expansion of
Halkett Marine Park. Dale Carlisle takes us through the historical changes
through dive movies.
One final change: I’ve added a PNW Diver Magazine Sharing Group on
Facebook. If you have been inspired to try something new, share it with us
on this page. To respect privacy, this group is moderated, so you will need
to join in order to post your pictures, videos or thoughts.
Kerry Enns
[email protected]
05 Into The Archives
Diving Goes to the Movies
by Dale Carlisle
1916
2016
As much as we enjoy getting out into the water every chance we have to practice our
For most of us, though, there are times when we dive and times when we just think
photographic and videography skills, there are practical limits to how often one can
about diving. During those latter moments, when the boss is not around, one avenue
actually dive. Some of us try to push back on those limits by turning our pastime into
of escape might be the movies, and fortunately, there are some interesting ones where
a profession or by abandoning all pretense of a structured life whatsoever. All hail the
diving is both vehicle of expression and dominant subject matter. I would like to explore
diving bum!
the evolution of diving as it is portrayed by the silver screen.
1916
These two enterprising men were fortunate in having a seagoing father who had already
invented a mechanism for penetrating the ocean surface. This device, called the deep
sea tube, descended down into the water while secured to a ship. Open to the air and
constructed of fabric-covered concentric rings of iron that acted like a dam against the
sea, it could be safely expanded more than 100 feet below the surface.
Originally intended by their father for salvage work, John (or JE as he was known) a
journalist by trade, recognized its usefulness for taking underwater photographs and
soon after, even greater potential in the new field of motion pictures. He refined the
tube by inventing a windowed chamber called the “Photosphere”. This was needed to
house the motion picture camera of the time, a large brass hand cranked affair and its
operator. With the machinery in place for their plans, John and his brother George formed
the Submarine Film Corporation.
After making an initial short promotional film to gain interest and funding, the two took
the photosphere (and a specially made barge to support it) to the Bahamas and began
shooting what would eventually become an adaption of Jules Verne’s 20,000 Leagues
Beneath the Sea.
20,000 Leagues Under the Sea - 1916
The film, which was a mishmash of the original story and another by Verne “The
The one that started it all.
Mysterious Island” left most of the aquatic scenes on the cutting room floor. Still, what
scenes there were amazed audiences by introducing them to an otherwise unknown
As many of us may know, the first underwater photographs taken by diver were from
underwater world, which until that time only a handful of salvage divers had ever seen.
Louis Boutan in 1893, using existing helmeted diving technology and a waterproofed
camera. The first underwater film, however, was not made until 1916 by John Ernest
The story of the Williamson’s career is a tumultuous one, with booms and busts, studio
Williamson and his brother George and then only after several technological hurdles
lawsuits and George’s eventual exit, but J E Williamson continued to make films for many
were overcome.
years afterward and was well respected for his craft and ingenuity.
1938
The story of the Bathysphere’s half-mile deep descent is one of cooperation, inventiveness
and extreme courage on the part of both Barton and Beebe. William Beebe, a naturalist
and zoologist who’s work initially involved birds, also ventured into marine biology
where he conducted several expeditions observing marine life using shallow water diving
helmets. Ever curious, he wanted to further expand his observations by constructing a
diving bell, which he wrote about in the New York Times.
Otis Barton, an engineer, read about Beebe’s plans and was intrigued. However, he also
realized Beebe’s plan would not work as intended and through arranged meetings struck
a deal with the naturalist to work together on the project. Barton would build the bell,
which he envisioned as a strong steel sphere capable of withstanding enormous pressure.
Beebe would fund the expedition. Together they would descend in it.
This began a program of construction and testing and refinement that continued right
until the day of the intended dives. The final Bathysphere design included a one-inch
thick shell with a single small opening, covered by a 400-pound hatch secured by ten
bolts. Inside the occupants breathed bottled oxygen scrubbed by caustic soda and
viewed the outside scene via three small windows of thick fused quartz. On an unmanned
test, the bell was lowered and raised only to reveal a leak through one of the windows
intended for filming. When the hatch was removed, highly pressurized water shot forth
like a fire hydrant. Undaunted, the fault was corrected, and Beebe and Barton carried
on with manned dives, eventually attaining a depth record of just over 3000 feet.
Titans of the Deep - 1938
Barton was intrigued with shooting underwater film scenes, which eventually became
Another early movie that captures man’s evolution in underwater exploration was
the 1933 Chicago World Fair stage with Auguste Piccard, who at the time held the record
produced in the 1930’s by Otis Barton, inventor and co-operator, along with naturalist
for highest altitude in a hot air balloon. A discussion between the two led Beebe to find
William Beebe of the diving bell “Bathysphere”. This film, intended as a sort of
the funding needed for the Bathysphere’s record deep sea dives, and Picard’s own son
documentary but morphed with campy horror window dressing to sell better, followed
Jacques Piccard would go on years later to break that record using the deep-sea vehicle
their exploits by revealing animals and scenes of their epic deep-sea penetration.
“Trieste” in the Challenger Deep at a depth of over 35,000 feet.
the footage used in Titans of the Deep. In a case of strange synchronicity, Beebe shared
1951
20,000 Leagues - 1954
20,000 Leagues Beneath the Sea, by Jules Verne, is considered the first underwater novel
and as such, has inspired people to make multiple film adaptations of it. Walt Disney
being no exception, he released his version in 1954.
Understandably, the latter version has far better production values than its 1916
predecessor due to technological advances and a studio skilled in story telling. Disney
none the less used J E Williamson himself as one of the consultants for the film and shot
on location in the Bahamas in the same setting as the original.
Underwater cinematography had advanced quite a bit in 30 years. Disney used helmeted
divers both in front of and behind the camera, which was more manageable and shot
in colour. An interesting note regarding technology is the diving dress used by some of
the characters in the film. The breathing units were specially crafted for visual effect but
represented a device described in the novel. It was called the Rouquayrol-Denayrouze
The Frogmen - 1951
diving apparatus and was invented by two Frenchmen in 1864.
While not a diving movie perse, The Frogmen
At the time, this apparatus was a surface supported
represents an important era in diving development
through its depiction of the Navy UDT (Underwater
Demolition Team) program during the second world war. At this time, the major navies
of the world were experimenting with various means of underwater warfare. SCUBA had
not yet been invented, and the British, Italian and, to a lesser degree, German navies
engaged in attacks using oxygen rebreather equipped divers on scooters or manned
torpedoes. All navies used both shallow and deep divers for salvage and repair work,
and the Americans developed the UDT teams. These were labeled underwater swimmers
and would be considered snorkellers or free divers today. Their primary role was to
penetrate enemy coastlines for reconnaissance and demolition work, often preparatory
to seaborne invasion. These swimmers would be dropped by boat offshore and slowly
work their way in, where they would observe defensive structures, place charges or
take beach measurements and samples for later analysis. Entirely exposed and often
unarmed, they would brave the enemy defenses and then swim back offshore where
they would, hopefully, be picked up by boat again.
helmet that also contained a back mounted lowpressure cylinder and one of the first functional
underwater regulators. With this combination of
helmet, tank and regulator a diver could make short,
unsupported dives at shallow depths. In the book
and film, of course, artistic license makes the depth
and duration of these dives grossly overexaggerated,
but Disney can be credited for faithfully recreating
prototypes of this device.
1955
The Silent World - 1956
In 1956 this underwater film won the Academy
Award for best documentary and the Palme
D’Or at the Cannes Film Festival, culminating
the early exploits of Jacques Cousteau and his
team aboard Calypso. Based on his 1953 book
of the same name, Le Monde du Silence took
two years to make and chronicles adventures
and exploration in the Mediterranean, Red and
Indian Oceans. Viewed as controversial today
for JYC’s apparent lack of concern for the welfare of its subject matter, the film is best
understood in the context of its time. Later, Cousteau himself would change his viewpoint
and become increasingly focussed on a more conservation based model of exploration.
Jacque Yves Cousteau represents a perfect example of someone who crafts a life around
his passion, in this case, diving and filmmaking. As a member of the French Navy he
and his friends took up spearfishing and freediving. During the war, Cousteau labeled
himself a filmmaker so the occupying forces would overlook his exploits. He also formed
a partnership with Emile Gagnan to create the Aqualung, or modern SCUBA unit. Later
Cousteau established the French URG (Underwater Research Group) so he could continue
diving and filming, and eventually forming the Cousteau Society. He used his position
Underwater - 1955
at the Monaco Oceanographic Museum to fund further expeditions and sell books, film,
By the mid-1950’s, SCUBA diving was gaining a foothold in the public consciousness, and
creating that art.
the first of a series of “Hollywood” movies was made starring Jane Russell. The story
loosely follows a well-worn plot in which a group of intrepid adventurers seek sunken
treasure and meet with pirates and dangers from the deep. What makes this film unique
is that it employs SCUBA gear instead of helmeted diving dress. This adaptation allowed
Pin Up girl Jane Russell to wear her revealing two-piece bathing suit to the delight and
shock of movie-going fans. The same basic premise has carried on ever since with various
versions such as The Deep - 1977 starring Jacqueline Bisset (voted best wet T-Shirt ever),
Into the Blue - 2005 starring Jesica Alba and Fools Gold - 2008 with Kate Hudson.
and even television rights to finance his exploits. His was a case of art representing man
The Silent World was followed by World Without Sun - 1964 which also won an Academy
Award in the same category.
1961
Sea Hunt 1958 - 1961
While technically not a movie, Sea Hunt can easily be added to
any list of moving pictures that both represented and shaped
diving. Along with The Undersea World of Jacques Cousteau,
it introduced a generation to SCUBA and was responsible for
the mainstreaming of it as a pastime in America.
The story follows the exploits of retired UDT frogman Mike
Nelson as he operates his own small “Diving for Hire” business.
Every episode would find Mike embroiled in some sort of adventure and, by using his
wits and underwater skill, save the day for himself and others.
Ivan Tors, the producer, had his idea for the show rejected several times because the
effort of filming underwater was considered too difficult and costly. Eventually, he found
a backer and cast Lloyd Bridges as Mike Nelson. Lloyd had recently been blacklisted in
Hollywood and before the show had no diving experience. Two pioneering icons, Zale
Parry and Courtney Brown, taught Lloyd how to dive and did stunt work for the show,
though, by the end of the series keen-student Lloyd could do much of the close-up
work himself.
The show ran for 155 episodes and is still referenced by many vintage equipment divers
for depictions of early era diving gear. Fans even hold a somewhat annual Sea Hunt
re-creation event at Silver Springs Florida. Many such divers still, when faced with a
dilemma, are often heard to murmur “What would Mike Nelson do?”
Lloyd Bridges also starred in a movie produced by Ivan Tors based somewhat on his Sea
Hunt character called The Daring Game - 1968.
Thunderball - 1965
Cue Bond theme song. In this
installment of the series, Sean
Connery as James Bond battles the
evil forces of SPECTRE led by Emilio
Largo both above and below the
water. Nearly 25% of the movie is
shot underwater, and it would win
the 1966 Academy Award for best
visual effects. For diving/adventure
buffs the show is a gold standard as
it has a variety of scooters, sleds and
breathing apparatus involved. To
keep the characters apart in your mind, the good guys use single hose regulators while
the bad guys use double-hoses. Watch for deadly hose cutting scenes but note they
always attack the exhaust side, producing lots of dramatic bubbles but allowing the
actor to breathe.
Sean Connery almost became an unintended victim in one of his own scenes when the
plexiglass cage he was contained in during a shark attack sequence failed to keep the
sharks out. His exit from the pool made some wonder if he had not had an ejection seat
secretly implanted by Q.
Other Bond movies use diving sequences in them, but none come close to the primary
setting explored here, mostly just short shots of breathing gadgets and submarine cars. A
later remake Never Say Never Again - 1983 attempts to retrace the ground of Thunderball
but pales in comparison.
1989 2000
The Abyss 1989 / Sphere 1998
Both of these movies explore the challenges of deep sea diving. Both also revolve around
the discovery of alien life forms underwater - apparently a hot topic in Hollywood studios
at the time. While many facts of diving are distorted for artistic reasons, the movies do
introduce a number of associated topics like habitats, submersibles, moon pools, oneatmosphere suits, mixed gas and HPNS. The scenes were too difficult to shoot in their
actual settings obviously so much of the action is conducted in large pools.
James Cameron, who is an avid diver himself, would go on to film actual images of
the HMS Titanic and even retrace the epic descent of Trieste to the depths of the
Challenger Deep.
Carl eventually wins out in his quest to become a diver while DeNiro’s character, Billy
Sunday, descends into alcoholism and dysfunctionality. A diving accident costs Carl his
leg, and the two reunite as Carl tries to again overcome the odds by remaining a diver
with a prosthetic leg. With Sunday’s help, Carl succeeds and remains an active diver for
several more years.
Open Water - 2004
A movie that has very little to do with
diving itself yet involves a question every
diver ought to be able to answer: Open
Water asks: “What happens if you can’t get
back into the boat?”
Men of Honor - 2000
A movie that could probably be shot with a
Cuba Gooding Jr and Robert DeNiro help to tell the story of men training as US Navy
Go Pro, it still intrigues the viewer (like it’s
Divers, loosely based on a true story about Master Diver Carl Brashear. In the story, Carl
(Cuba) faces institutional racism yet eventual acceptance as he tries to become the first
relative The Blair Witch Project) by delving
into the psychological stress created by a
black US Navy Diver. While the story is compelling in itself, divers also get a good look
seemingly simple situation that can’t be
at the Mk V Standard Diving Dress and techniques used by the USN for deep work from
resolved. A live-aboard favorite I’m sure!
1915 to 1985.
2011
group of divers might accomplish if they were to suffer from hydrogen psychosis, while
armed with Glocks, while seeking revenge for the consumption of their friend by an
endangered species. Everyday stuff really!
Sanctum 2011
The picture is perfectly sublime in its mix of emotional and humorous contradictions,
Okay, substitute the boat for a cave and you have
seriously. Some say it is best to be viewed while intoxicated as many of the actors appear
Sanctum, though I will give props for setting
and the only mistake anyone could make in watching it would be to take any of it too
to have performed in it that way.
and production value. This was a movie highly
anticipated by the cave diving community as a
reflection of their unique off shoot of adventure
and, like many movies before it delivered a mix
of inspiring imagery and sometimes cheesy
artistic license.
There are a couple of things that stick out in my
mind when I think of Sanctum. One should never
be too quick to administer a compassionate “Coup
de Grace” to a fellow diver, no matter how much
they request it. And, why wasn’t breathing off a bottle without the regulator a skill I was
taught in OW class?
The Life Aquatic with Steve Zissou - 2004
Perhaps the culmination of all diving knowledge past and present, compressed and
contained into a perfect distillation of artistic expression, The Life Aquatic is more of a
Life Anthem or Codex to live by than movie for some. Nerds have their Star Wars. Drivers
have their French Connection. And divers have Bill Murray as Steve Zissou. Part spoof on
That’s it. Enjoy diving and if you can’t do that try enjoying one or two diving films from
Jacque Cousteau, part comedic vehicle for cameo’s by Angelica Houston, Willem Dafoe,
the list above. Perhaps you may take inspiration from them and set off next time to make
Jeff Goldblum, Owen Wilson and many others, the Life delivers a quirky look at what a
a diving movie of your own!
13 TECHNICAL
Northwest Rockfish:
A Photographic Panoply
by Andy Lamb
DISCLAIMER: Paramount with this submission is the fact that I am not an underwater
photographer. Much to the chagrin to the co-authors of Coastal Fishes of the Pacific
Northwest and Marine Life of the Pacific Northwest, I frequently receive credit for their
outstanding work. Phil Edgell and Bernie Hanby are clearly listed as the photographers
for those publications.
However, over the last forty plus years, it has been my good fortune to dive with these two
and many other outstanding underwater image makers – a few of whom are featured
in the following article. While acting as a spotter/assistant and constant eavesdropper,
I have “sponged” up considerable insight. This special situation provides me with a
unique perspective and one to be shared via the following presentation.
Image A: Reef Stonefish
Synanceia verrucosa
Image B: Red Lionfish Pterois volitans
ROCKFISHES: A FAMILY BACKGROUND
Rockfishes are members of a large, almost entirely marine family known as the
DISCLAIMING THE DISCLAIMER – sort of. Images A & B were taken by the author in
Scorpionfishes (Scorpaenidae) that has representatives worldwide. Virtually all species
Indonesia using a Canon Power Shot ELPH 300HS camera in a WP DC41 waterproof
have venom of some sort associated with fin spines (particularly the dorsals). While
case. A couple of years ago, I was bitten by the bug and began taking digital snapshots
our resident rockfishes have relatively benign variations, many tropical kin possess
while diving in the tropics. I submit this qualifies me only as a part time novice with
very powerful versions. The horrific, lethally documented Reef Stonefish Synanceia
point and shoot equipment – and not an underwater photographer.
verrucosa and the ornate but severe pain inducing lionfishes Pterois spp. are tropical
denizens to be very wary of.
A MAGNIFICENT VARIETY
IMAGE INSIGHTS
The many species of rockfish are included in the genus Sebastes, a Greek word
All of the contributing photographers are very accomplished and experienced working
meaning magnificent. As an unrepentant Sebastophile, I find this an apt term for
in the difficult conditions presented by the marine environment of the Pacific Northwest.
each as well the total array.
The basic quality of their work is superb. It requires no comment from me concerning
the basics of focus, lighting, exposure, framing etc. Rather my commentary will narrowly
The cold and temperate North Pacific Ocean is home to the vast majority of rockfishes
deal with each image as it relates to its rockfish subject matter. In many instances, my
– a total close to 100 species. Narrowing this perspective to the Pacific Northwest still
comments concerning one image will apply to others that follow but repetition will be
provides an impressive 40 or so Sebastes inhabitants. Unfortunately, while many of
avoided. Unless otherwise noted with “film and a date”, all images are of the digital age.
these colourful creatures swim at depths well below safe diving limits, a remaining
ROCKFISH
twenty-three cruise locales accessible for underwater photography. And at least twothirds of that number are common targets for the serious camera-toting fraternity.
Copper Rockfish Sebastes caurinus ©Kent Forsen at 60mm, f13, 1/50sec
Copper Rockfish congregate on a ledge ©Bruce Kerwin at16mm, f11, 1/250sec
This image features a Copper Rockfish Sebastes caurinus from Egmont, B. C., taken by
This image shows a group of lounging adult Copper Rockfish in Hood Canal, Washington.
Kent Forsen using a Seacam Silver housing, Seaflash150 digital strobe, Nikon 60 mm
It was taken by Bruce Kerwin using a Nikon 300D camera in a Subal30 housing with 2
lens. The attractive and typically coloured specimen is nicely shown, not completely
Sea & Sea YS-DI strobes, a Nikon 16 mm Fish Eye lens, at F11, 1/250. This is an unusual
side on. Kent’s slow careful approach was just close enough to encourage the fish to
situation with nine fish resting on the sea floor and one just above, captured by Bruce’s
erect and extend all of its fins but not flee.
careful stalking combined with the fortuitous availability of a wide angle lens.
ROCKFISH
Tiger Rockfish Sebastes nigrocinctus ©Marc Chamberlain at 35mm, f13, 1/160 sec
China Rockfish Sebastes nebulosus ©Marc Chamberlain at 35mm, f13, 1/160sec
This image is of a Tiger Rockfish Sebastes nigrocinctus that Marc Chamberlain found in
Another Marc Chamberlain image illustrates a China Rockfish Sebastes nebulosus taken
the San Juan Islands, Washington. Marc used a Nikon 300 camera in a Subal housing and
in Browning Pass. This species has a dark base colour with lighter markings making it
Subal 150 400 flat port, with two Sea & Sea YS 250 strobes and a Tokina 35 mm lens.
a challenge concerning the background. But Marc has nailed it and the fish stands out
Marc’s mantra is “it’s all about the background” and together with patient positioning,
beautifully from its light surroundings.
it created this superb “ID” portrait.
ROCKFISH
FOREVER FAVOURED
Some photo opportunities are timeless, repeatable and
appealing. The following two photographs, each feature a
juvenile Quillback Rockfish Sebastes maliger, peeking out
from the security of a cloud sponge, are examples of one
subject’s continued popularity.
Juvenile in a Cloud Sponge ©Lou Lehman
Juvenile in a Cloud Sponge ©Marc Chamberlain at 35mm, f9, 1/200sec
Taken on film in the early 1970s by Lou Lehman, in Agamemnon Channel, B.C. Lou used
A digital era image by Marc Chamberlain, with a dome port, Nikon 16-35 lens and diopter
a Rolleimarine 6X6 format camera and Rolleimarine Hans Haas housing, #5 Sylvania
added to his equipment and taken in the same area as Lou’s.
blue flash bulbs, F11, 60th of second.
ROCKFISH
LIKELY NEVER AGAIN
Some opportunities are once in a lifetime and produce images that will probably never be duplicated. In the case of Pacific Northwest
rockfish photographs, the overfishing that has resulted in severe stock depletions is the primary reason for this situation. The following
two images speak to this sad fact.
Yelloweye Rockfish ©Phil Edgell
Yelloweye Rockfish ©Bernie Hanby
This image features a very large adult Yelloweye Rockfish Sebastes ruberrimus,
In 1984, Bernie Hanby and Dr. Chris Pharo were diving Nelson Rock, near
likely 90 years old or more and a former resident of Hunt Rock, at the north end of
Pender Harbour, B.C., when they encountered a small school of sub-adult
Vancouver Island. In the mid-1970s, Phil Edgell used Kodachrome 25ASA film, with a
Yelloweye Rockfish drifting off the bottom. In and of itself, this was a sight neither
Nikon F2 camera, 55 mm macro lens, in an Oceanic housing for this shot. Look closely
of them had seen before or since. Using a Kodachrome ASA 25 film in a Nikon 2
and notice the swollen belly – this female was pregnant and carrying between one
camera, 60 mm macro lens, in an Aquatica housing with an Ikelite 250 strobe,
and two million young.
Bernie obtained this “double” – a feat he challenges anyone to match.
ROCKFISH
FREE SWIMMERS AND SCHOOLERS
While many rockfish species hunker down, on or close to the bottom, numerous others form schools, containing a few too many
hundreds of individuals. These assemblages may be totally of one species or a mixture of several. Such behavior creates additional
difficulties for the photographer in his or her quest for quality pictures. Not the least of which is excellent buoyancy control as being
“accepted as one of the school” is paramount to the process.
Yellowtail Rockfish at Renate Reef ©Neil McDaniel
Yellowtail Rockfish and Black Rockfish ©Kent Forsen at 60mm, f14, 1/60sec
Deacon Rockfish Sebastes diaconus ©Kent Forsen at 60mm, f13, 1/60sec
Biologist/photographer Neil McDaniel was delighted to
Kent Forsen was also drifting about in the
During another “schooling encounter” at a different
be surrounded by schooling rockfish in Barkley Sound,
aforementioned Barkley Sound school, toting his
Barkley Sound local, Kent encountered the Deacon
B.C., in the summer of 2015. At this point, he was armed
NikonD600 camera, in a Seacam Silver housing
Rockfish Sebastes diaconus in a single species
with Sony EXIR video camera in a Gates housing and the
with a Seaflash150 digital strobe and 60 mm lens.
grouping. Another fine portrait resulted but in this
accompanying image is a “still grab” from considerable
This exceptional portrait of the two species present
instance, a second specimen face on in the upper left
footage. Careful examination of this shot shows a few
resulted from an f/16 1/60 sec ISO 100 setting.
corner, adds the view of the species’ forehead banding.
Black Rockfish Sebastes melanops amid an overwhelming
number of Yellowtail Rockfish Sebastes flavidus. Selecting
frames from video has become more practical in the
digital age.
This is a key identification characteristic.
ROCKFISH
Adult Canary Rockfish Sebastes pinniger ©Neil McDaniel
Vermilion Rockfish Sebastes miniatus ©Kent Forsen
Dark Dusky Rockfish Sebastes ciliatus ©Neil McDaniel
Adult Canary Rockfish Sebastes pinniger generally
While rockfish move about, they usually do not swim
Schooling rockfish will often circle around vertical
form small schools and Neil McDaniel was able to full
quickly and generally allow encumbered underwater
topography which provides excellent background
frame this individual. Equipment used was a Nikon
photographers to keep pace. Such behaviour allowed
oriented options. In this image, Neil McDaniel was equally
D100 camera in a Subal housing, with twin Ikelite 150
Kent Forsen to capture a partial “head on” image that
intrigued by the Dark Dusky Rockfish Sebastes ciliatus
strobes and a 12-14 mm zoom lens, at 1/68 sec, f 11-16,
also suggests motion by this Barkley Sound Vermilion
and the beautiful Orange Gorgonian Primnoa pacifica. A
ISO 200. The canary is one of the rockfish species less
Rockfish Sebastes miniatus.
match made in photography heaven.
frequently encountered by divers, with Barkley Sound
representing a good location to try.
ROCKFISH
ROCKFISH PHOTOGRAPHY
CHALLENGE FOR THE FUTURE
While at 130 ft. (40 m) in Agamemnon Channel, in the early
1970s, Lou Lehman hurriedly photographed this Splitnose
Rockfish Sebastes diploproa, sensing it was different while
acknowledging his depth and diminishing bottom time.
Indeed, this rockfish is one of many, often colourful red
species that inhabit depth greater than those frequented
by most recreational divers. However, with the everincreasing range of the techie aficionados, photographic
depth barriers are now being adjusted. Hopefully, this
exciting opportunity to document “un-shot” rockfish
will stimulate this generation of image makers and I look
forward to seeing their work.
Splitnose Rocksh Sebastes diploproa ©Lou Lehman at 60mm, f8, 1/60sec
FINAL THOUGHTS FROM THIS DIVE BUDDY/SPOTTER
Chasing rockfish (or any fish) really does not work. It is usually better to let it swim away
Over the years, I have enjoyed diving with many underwater Pacific Northwest
toward a stationary and aptly positioned photographer. The trick seems to be making
photographers and acted as a spotter – looking ahead for potential creature models.
From the feedback I have received, the feeling has been mutual. A kind of symbiosis.
With respect to rockfish spotting, once a specimen is noticed (optimally, at a goodly
distance), a backtrack before spooking the creature is critical. Keeping the rockfish
in view and pointing it out as the photographer approaches can definitely improve
chances for success.
and search for another. However, I have had some success “herding” schooling rockfish
a very wide circle ahead of the individual or group of rockfish and then slowly moving
it/them toward the critical site.
Of course, familiarity between photographer and spotter is important –likely via an
established buddy pair.
A special thank you to Lou Lehman, Neil McDaniel, Marc Chamberlain, Phil Edgell,
Bernie Hanby and Kent Forsen for all their images to be used in this article.
21 Feature Photographer
Featured Photographer:
Chad Tamis
In 2012 I was able to start diving. I was backpacking through Thailand at
getting a handle on my first drysuit dive, I picked up a point-and-shoot
the time. Within a week of my first open water dive, I became a rescue
camera and started taking photos of the local marine life around Victoria.
diver, and I quickly pursued becoming a Divemaster. By the time I came
I learned quickly that a simple camera would not satisfy what I felt I could
back to Canada, I knew that I wanted to pursue marine biology and moved
capture of underwater life. Nevertheless, my time at UVic increased my
to Vancouver Island to finish my degree at the University of Victoria. After
ability as a biologist and cold water diver.
The big moment that pushed me into the
realm of DSLR cameras was while showing one
of my professors a picture of a nudibranch.
I needed for him to confirm my attempt at
identification. He assured me that my guess
was as accurate as it could be, but it would
not be confirmed unless I could get further
detail on the morphology of the animal. This
5mm slug convinced me that I needed to
move on to bigger and better things so that
I would no longer be limited by my camera
and only my ability as a naturalist and diver.
After graduating in 2014, I picked up a
Nikon D800 with a Nauticam housing. I
took the giant leap into teaching myself all
the techniques of using a DSLR as well as
all the challenges associated with using it
underwater. From that point on I haven’t
looked back. I have used my camera to
enhance my diving experience as well as my
understanding of the diversity and ecology
Spanish Shawl (Flabellina iodinea) in Barkley Sound. A rare find around Vancouver Island. I spent as long as I
could with this fantastic little slug. Taken with the super macro wet lens Nauticam SMC-1. © Chad Tamis
Nikon D800, 105mm, f40
of the animals that flourish in the waters of
the Pacific Northwest.
I started studying and shooting a lot of marine
invertebrates; this was useful as I completed
a Directed Study on nudibranchs at Bamfield
Marine Sciences Center. Since then I have
been fortunate to work at the marine station
as a marine educator and CAUS Scientific
Diver. These positions allowed me to use my
ability as a photographer in a very practical
way, showing students and researchers
animals and interactions that they had never
seen before.
While shooting macro subjects has been
my primary interest, I have begun shooting
more wide angle subjects and environments.
While I feel macro photography is excellent to
catalogue diversity and provide charismatic
images of macro-fauna, I wanted to be able
to give a larger sense of environment to some
of the animals I was photographing.
A small dorid (Limacia cockerelli) on some kelp in Victoria. This 5mm nudibranch held my attention for
quite some time. © Chad Tamis
Nikon D800, 105mm, f32, 1/200
While living in Victoria, my favourite dive
site would easily be 10 Mile Point. The
strong currents at this site make the life
abundant and diverse but can also create
potentially dangerous diving conditions.
It is a macro haven for shrimps and
nudibranchs and has an extensive range
of filter feeders and grazers.
Since being based on the west coast of
Vancouver Island, my new favourite location
would be Tahsis, in Nootka Sound. The area
has stunning walls, beautiful pinnacles, and
an array of life that I have not seen elsewhere
around Vancouver Island.
For all the personal benefits of pursuing
my passion, I think it is important for
photographers to share their images and
messages with the public. While hosting a
gallery with some of my early work, most
of the general public had thought all my
Super macro shot of a Vermilion Star in Victoria. Shooting close ups of sea stars gave me a different perspective
for using patterns and textures to provide an unusual yet beautiful image. © Chad Tamis
Nikon D800, 105mm, 32, 1/250
pictures were from tropical locations.
As divers, we sit in somewhat closed circles,
and in talking with like-minded people, we
forget that much of this life is unknown to the
people around us. With environmental issues
like plastic, sound, waste pollution, overfishing, and even climate change, we should
be pro-active in reminding others of the
beautiful life we see off our shore. For those
that do not have the means or the fortune to
see the underwater world, our images allow
them to create a connection to the sea in
hopes of encouraging all people to conserve
and spread the message of ocean protection
and conservation.
This is where I have found the most
meaning in my work, and I hope to continue
along this avenue. Most recently I have
been able to assist on the next BBC Blue
Planet series because of my knowledge of
local marine life and ability with a camera.
My biggest hope is to create a meaningful
shift in perception of the people around the
Pacific Northwest to focus on protection
of our marine environment. There is much
more to be gained in the long term from
ecosystem-based services as well as ecotourism for the local communities, than
from the destructive resource extraction
or waste-causing cruise ships.
On a dive where nothing was going right, I took this image with a focus light only. It gained a lot of attention due to the
colour and shapes provided by this Denronotus albus trying to feed on some hydroids. © Chad Tamis
Nikon D800, 105mm, f14, 1/160
Equipment: Nikon D800. Nikkor 105mm F2.8,
Nikkor 16-35mm F4. Nauticam Housing. YSD1 Sea & Sea Strobes, Sola 1200 Focus Light.
Nauticam Super Macro Converter (SMC-1).
Post Processing: Adobe Lightroom on
Macbook Pro.
Contact Information:
[email protected]
ctamisphotography.com
Instagram, Facebook, YouTube
Super macro of a sculpin, the colouration patterns are fascinating to me and when a subject pauses long
enough for me to get close, I can’t resist the urge to take a shot © Chad Tamis
Nikon D800, 105mm, f36, 1/200
Dirona albolineata in Nootka Sound. The
White Lined Dirona is one of the more beautiful
nudibranchs in the Pacific Northwest and can be
found from the shallows all the way down to the
limits of recreational divers. © Chad Tamis
Nikon D800, 105mm, f9, 1/250
Polycera tricolor in Nootka Sound. These nudibranchs are generally found on kelp
feeding on bryozoan colonies. © Chad Tamis
Nikon D800, 105mm, f16, 1/250
A Quillback Rockfish in Nootka Sound above a sea of crinoids. Tahsis has a massive population of these crinoids,
a simple type of echinoderm that is capable of swimming up into the water column. © Chad Tamis
Nikon D800, 16mm, f8, 1/125
Floating in Barkley Sound, I found this ctenophore (Leucothea pulchra) in open water at 15 feet. I
floated with it as it fed, experiencing for a brief moment the life of plankton. © Chad Tamis
Nikon D800, 105mm, f20, 1/250
Marc Damant
My name is Marc Damant, and I live in Port Alberni, on Vancouver Island, That was in 2009, and I can still remember sitting on the bottom at Finn
British Columbia, Canada where my wife and I do the majority of our scuba Beach in Nanaimo on our first excursion into the ocean. As we waited to
diving. In a way, learning to dive was inevitable because I have always loved demonstrate our required open water skills to the instructor we were
the water. When I was young, we had a pool which provided an escape surrounded by marine life and I was hooked, feeling instantly at home.
from the heat and a place to play and then when I got older I discovered Years of snorkeling never prepared me for the way that wildlife interacts
snorkeling which allowed me to see nature in my favorite medium. After a with you under the water or the serenity and bliss that you feel as you float
trip to Cuba, my wife suggested that we try scuba diving, and I was ecstatic. along in neutral buoyancy. The joy and wonder from that very first dive
have stayed with me over the years, and it is the reason why I continue to
dive to this day.
Fortunately living on Vancouver Island has allowed me to scuba dive
year round and I am always amazed to witness the tremendous seasonal
changes in the wildlife at our dive sites. We do a lot of diving around home,
and some of our favourite places are Tyee in Nanoose Bay, Madrona in
Parksville, Charlaine in Nanaimo, and China Creek outside Port Alberni,
which are shore dives that are accessible in all tidal and weather conditions.
When we get a chance, we love to go out to Barkley Sound and dive Tyler’s
Rock, Renata’s Reef (both which are accessible by boat) and the House Reef
of Rendezvous Dive Outfitters in Rainy Bay. This area never disappoints
a photographer because it has some of the best cold-water diving in the
world, featuring truly spectacular marine species and diversity.
With all the bizarre and beautiful creatures in the ocean, I couldn’t help but
want to photograph them. I describe my photography like that of an avid
hobbyist and use it to show people the colour, texture and variety of life
close to home spreading the message of conservation with my art. I focus
mostly on cold water subjects because most people have no idea that the
Pacific Northwest contains ecosystems that rival those of warmer climes
in both colour and abundance.
A Lion’s Mane on Green ©Marc Damant
Canon T2i with 18-55 lens at 18mm, f7.1, 1/100sec
A Rose in the Emerald Seas! © Marc Damant
Canon T2i, 10-17mm Tokina at 10mm, f16, 1/100
As you can see, wildlife has always interested me, and I
started shooting pictures on land with an old Canon film
camera so it was very natural for me to transition to capturing
underwater images when I began scuba diving 6 years ago.
At first, I had an Olympus in an Ikelite housing with a Sea &
Sea 110 strobe and while this little system allowed me to
capture moments and memories it left me wishing for more.
Seeing the photos in dive magazines motivated me to switch
to an SLR camera so I purchased a Canon T2I and put it in an
Aquatica housing with twin Sea & Sea 110a strobes and an
I-Torch Videopro 4 focus light. Depending on visibility and
subject, I use a Tokina 10x17 Fisheye lens for wide angle, a
Canon 18x55 kit lens for subjects at intermediate distances,
Canon 100mm for macro or Plus 10 and Plus 5 diopters
for super-macro photography. For post production, I use
Photoshop Elements Program on a PC computer.
Colourful and Cute © Marc Damant
Canon T2i with 100mm macro lens, f11, 1/100sec
Puppies of the Sea! © Marc Damant
Canon T2i with a 10-17 Tokina at 10mm, f10, 1/100
Of course, it does not matter what gear you use if you never
get in the water! When I think of all that I have learned about
underwater photography from magazines, books, mentors,
friends and my own trial and error the most important thing
that I would like to pass along is this; be a good diver first!
Proper trim, excellent buoyancy and getting comfortable
in the water will make everything so much easier when you
have a camera in your hand.
Flying in the Emerald Sea © Marc Damant
Canon T2i with 18-55mm zoom lens at 18mm, f9, 1/100
Hooded Nudibranch © Marc Damant
Canon T2i with 100mm lens, f10, 1/125
Once you have mastered the basics of diving, take your time
to slow down and really look. Too often I hear people say that
they “saw nothing” when I have just seen myriads of life on
the same dive. Sites vary from month to month and day to
night but if you take your time there is always something,
big or small, waiting to be found.
If you are lucky enough to live where you dive, then take
advantage of this privilege by diving a site repeatedly. This
will allow you to learn the habits of the critters you want to
photograph and the conditions in which you will be taking
pictures. If you are unsure where to start at home or on
holidays, you can always ask guides or local divers to show
you the animals that you are interested in. By following and
asking questions of other divers is how I learned to navigate
and find critters on my own.
Lastly, when people ask “how do you get such great
pictures?” I tell them the truth. I dive a lot, 2 to 4 dives a
week year round, and an average dive lasts 60 minutes or
more. So I spend lots of time taking subaquatic pictures,
and I will stay with a subject for 20 minutes if I have to get
the perfect shot. I also go to the same spot over and over
again just to perfect my method. There is no substitute for
practice and repetition if you want to improve your results.
Many photographers are much more technical than I am and
can describe which lens to use, strobe angle to set, F-stop
and shutter speed to find and while this is important the one
thing that technical knowledge can’t replace is simply being
in the water and being there for the special opportunities!
Entangled Mating GPO © Marc Damant
Canon T2i with 100mm macro lens, f13, 1/125 sec
My pursuit of the perfect picture has allowed me to
experience some amazing once in a lifetime natural events.
As a photographer in the Pacific Northwest, I have seen
mating giant Pacific octopuses, been surrounded by a
sardine bait ball hundreds of yards long, swam languidly with
a six-gill shark and played with octogenarian wolf eels. None
of that would be possible without scuba diving or my love of
capturing that unique picture. So I would encourage anyone
who is thinking about diving or taking up photography don’t
wait! It is a hobby that will change your life.
For more information about my work, to view more pictures,
or to ask a question you can contract me through Facebook
at Damant’s Diving Digital Photography.
Peek A Boo! © Marc Damant
Canon T2i with 100mm macro lens, f13, 1/160
All the World in the Eye of a GPO ©Marc Damant
Canon T2i with 100mm macro, f11, 1/100sec.
I am Sexy and I Know It ©Marc Damant
Canon T2i with 18-55mm lens at 55mm, f14, 1/100sec
Rick Waines
I am a freediver who loves photography. I have taken the Advanced
I first fell in love with photography, at 15 years old, traipsing around the
Freediver and Safety Supervisor courses with Performance Freediving
small Gulf Island we had a cabin on. I would walk for hours every day; I
International. If you are a snorkeler or freediver who has never taken a
took photographs of logs, rocks, trees, and birds: Seagulls, Great Blue
course, please do. It could save your life or the life of your buddy; it also
Herons, Oystercatchers, and Green Heron.
has the bonus of making you a much better diver.
I thought this meant that I should become
a professional photographer, and so I went
to Langara College and graduated from
the Photographic Technician program.
As it turned out, my love of photography
didn’t mean I should be a professional
photographer. Professional photography
sucked the life out of my passion and so I
moved on to other work.
I learned to SCUBA in the early 90’s but taking
photographs underwater never once crossed
my mind as I was pretty firmly entrenched
in my belief that taking photographs made
me an observer. I wanted to be immersed in
the underwater environment as a participant,
unmediated by the lens and flash I had come
to see as a barrier to experience.
©Rick Waines
Olympus TG4 at 4.5mm, f2.8, 1/125 sec
In 2001, I was planning a trip to Haida Gwaii
and was looking for a dive guide. I stumbled
across a blog from a fellow that mentioned
taking a freediver out into Hecate Straight
to freedive with Dolphins; this caught my
attention (the word “free” as much, or more,
than Dolphin). Six months later I was in
Hawaii learning to freedive with Carlos Eyles,
a former spearfisherman, and author who
had traded his gun for a camera. Carlos reacquainted me with the sensations of being
in nature with a camera without it being a
barrier; feelings I hadn’t had in a long time.
But it took another ten years for freediving and
freediving photography to finally take hold.
While learning to freedive with Carlos, I met
Wayne Levin, an underwater photographer
based on the big island. His work continues
to inspire me.
©Rick Waines
Olympus TG4 at 4.5mm, f2, 1/125 sec
These days I get in the water once a week
or so and have just bought a 19-foot zodiac
to get me a bit further afield. I am using an
Olympus TG-4, without a strobe. Freediving
is difficult enough without dragging along
extra gear, so I have done my best to keep it
simple. The TG-4 shoots in Raw, if one wishes.
I have found I can get pretty great images if I
keep it simple and don’t, for example, try to
shoot a Warbonnet at 70 feet in December.
Photography using available light has
limitations in our cold dark waters, but it is
also extraordinarily beautiful. The TG-4 is a
waterproof camera to 15 meters but I have it
in a housing as I feel safer about it that way.
Find me in Victoria and we can shoot together
sometime.
[email protected]
http://carloseyles.com/
http://waynelevinimages.com/
©Rick Waines
©Rick Waines
©Rick Waines
William L. McKinnon
I have been fascinated and attracted to water in its variety of states and forms since my
grand daughter Brea, as much now as when a child. Throughout the water column, from
first memory. I grew up on the B.C. coast spending all my summers on, in and around
local shore dives to remote boat-access technical dives on the rebreather, I experience
the water. I then spent 20 some years living in the interior of B.C. reveling in fresh water
the same excitement and awe at the life I encounter and sometimes am lucky enough
multi-state pursuits while my working life kept me close to the salt water on the coast.
to photograph as when I first looked into a tide pool. Every dive a new experience.
A work accident precipitated a major life change in 2002 that included moving back
I transitioned from open circuit diving to a rebreather three and a half years ago. This
to the ocean full time and settling in Powell River in 2004. I was able to better access,
change in technical diving skill sets proved a good fit for shooting still images in all depth
experience and document the diversity of the coast and its marine life. I still love to gaze
ranges. Part-time employment as a commercial diver and charter operator allows me to
into tide pools at the teeming life within them while wandering local beaches with my
spend much of the rest of my time exploring the coast by boat, diving and taking photos.
As a teenager, I learned about SLR cameras using a beat
up Spotmatic Pentax on land but started underwater
using single-use film cameras in Hawaii in the 90s. I was
first exposed to underwater digital cameras while diving
with my friend Jim Rossi, and holding lights for him on
the Agamemnon wall corals. This prompted me to into
my first investment of a Fuji E900 with an Ike housing and
Inon strobe that could go deeper than 130 ft.
My friend, Jim Rossi. We were out at the remains of the Malahat and under the YOGN
82 which is no longer at work as a breakwater. It currently sits at Catalyst Paper Corps
docks in Power River under preparation for sinking as the first of four hulks to be sunk
as artificial reefs.
Diamond Back Nudibranch dining while Lloyd looks on© Bill McKinnon
10-17mm Tokina at 15mm, f8, 1/100sec, ISO200
I now shoot a D90 Nikon housed in a Nauticam housing with
a pair of Inon z-240 strobes. I use either a Tokina 10-17mm
fisheye zoom with a Zen mini dome or a 60 mm Nikon macro
with a flat port. I have recently acquired an Aquatica 8” dome
and a 105mm Sigma macro lens with Aquatica ports and a
+5 wet diopter adapted to the Nauticam. While dated, the
main components of this rig have been very reliable.
I’m also looking forward to spending time when the visibility
is poor exploring, experimenting with and learning snoot
photography.
Sun, Surge and Surf Grass© Bill McKinnon
Tokina 10-17mm at 14mm, f5.6, 1/100sec, ISO200
Blue Wavelet trailing the Gradient at the North end of Queen Charlotte Strait© Bill McKinnon
300mm, f5, 1/1600sec, ISO250
Like most folks I love new equipment but am also
constrained by a budget. It’s most important to get out
there diving and taking photos, learn from ones mistakes,
seek guidance when needed and to keep at it. I would
encourage new photographers to use and become adept
with what they have by using the gear often. Experiment
with various settings, both on the camera and with the
strobe to learn the camera’s full potential. I found that
slowing down, stopping, taking the time to look around
Large Lunch for a Red Irish Lord© Bill McKinnon
Tokina 10-17mm at 14mm, f10, 1/100sec, ISO200
GPO at Gods Pocket© Bill McKinnon
Tokina 10-17 mm at 10mm, f8, 1/125sec, ISO200
for the creatures and then studying their
habitats, all while being relaxed and ready
to shoot, a beneficial habit.
One of my largest struggles has been postprocessing as I am a bit of a Luddite when it
comes to computer technology. Lightroom,
Alien Skin ExposureX, and ongoing mentoring
by some very patient people has helped my
images tremendously.
I hope you enjoy these images showing a
bit of what I see and a nanoscale amount
of the life that exists beneath the waters of
coastal B.C.
Grunt Sculpin© Bill McKinnon
105mm, f22, 1/160sec, ISO200
Sailfin sculpin in Vanguard Bay, Nelson Island © Bill McKinnon
105mm, f20, 1/160sec, ISO200
Red Flabellina© Bill McKinnon
105mm, f18, 1/160sec, ISO200
Kelp Greenling at Tahsis Mozino Point© Bill McKinnon
Tokin 10-17mm at 15mm, f8, 1/60sec, ISO200
Black rockfish nosing into the current© Bill McKinnon
Tokina 10-17mm at 15mm, f10, 1/50sec, ISO200
Gorgonian Coral at Agammemnon© Bill McKinnon
14mm, f11, 1/125sec, ISO500
50 SAFETY
Oh Solo? Me? Oh!
Some considerations when diving by yourself
by Bob Bailey
I received an e-mail from a friend who wanted an
that makes it difficult to find dive buddies when you’re
instructor’s perspective on solo diving. He asked, “How
available to dive. Whatever the reason, it’s important to
do I determine if I’m ready for solo diving”? It’s a good
assess whether or not solo diving is the right approach.
question, but difficult to answer, especially for an
Am I Ready?
instructor representing a training agency that mandates
diving with a buddy. But I gave it some thought, and I’d
like to use this column to share some of those with you.
Solo diving is very much about making an honest
All of us were trained to dive with a buddy. Virtually
and weaknesses.
assessment of both your skills and your mental strengths
• Can you function with your mask off or flooded?
all of the training agencies hold to the premise that
• Can you doff and don your BCD underwater?
it’s just safer, and therefore something we should do.
But more and more people are looking at going solo as
an alternative approach to diving. For some, it holds a
Diver with pony bottle and SMB.Photo by Eric Askilsrud
beginnings of a panic cycle, and take steps to stay in
control of yourself?
particular attraction either for specific activities like spear fishing or photography, or
• Would you know what to do if you were bent or injured
simply because it allows a degree of freedom that one cannot attain by diving with
and alone?
a buddy. Whatever the reasons, the decision to dive solo should not be made lightly.
As with my friend, you should ask yourself whether you’re ready. You should carefully
• Can you recognize the onset of stress, or the
consider the risks, skills, training, and equipment you would need to go it alone.
When you’re solo diving, you won’t have another diver to help you out of any difficult
Why Solo?
any emergency in a calm and rational manner. The mantra ‘Stop, Breathe, Think, &
The logical first step would be to ask yourself why you want to dive solo. Perhaps it’s
anticipate the risks, be extra vigilant to avoid them, and be methodical to resolve the
because you’ve had a bad experience with a buddy, or you are having trouble finding dive
ones you can’t avoid.
buddies. Is solo diving the right response to that issue? Or perhaps you have a schedule
or unexpected situations, so you need to plan accordingly and be able to respond to
Act’ is far more important when diving solo than with a buddy. You have to be able to
What Skills Do I Need?
First and foremost, you need to be very comfortable with
your basic diving skills – you should have good buoyancy
control, be able to function with a flooded (or lost) mask,
and be able to recover a lost regulator.
Dive planning becomes crucial. Predive preparations need
to be made with more emphasis on risk-avoidance. During
the dive, it is essential to maintain an awareness of where
you are and stick to your dive plan. After the dive, guess
what? You’re still alone.
Make sure you’ve thought through how to end the dive
safely and exit the water. This planning is of particular
importance if you’re diving from a boat or in the surf
because there isn’t anyone available to help you.
Good gas management skills are essential. Never plan
on your redundant air source as part of your gas supply;
it’s there strictly for emergencies. You also need to
account for the fact that it may take you longer to solve
a problem than it would with a buddy, and plan your
gas reserves accordingly.
You should be able to remove comfortably and replace
your gear underwater because in the event of an
How Much Redundancy Is Enough?
The primary logic behind diving with a buddy is so that if
some piece of equipment fails, you have your dive buddy
there to assist you. Dive buddies provide each other with
redundancy; if a piece of equipment fails you can still
end the dive safely. When solo diving, you have to bring
your redundancy with you. At a minimum, this means
an entirely independent source of air such as double
cylinders or a pony bottle. A second cutting device is also
something you should take with you. EMT shears are
highly recommended in addition to a standard dive knife.
At least one of your cutting devices should be attached
to a lanyard, so that if necessary you can attach it to your
wrist to avoid accidentally dropping it. Another important
consideration is a spare mask so that you do not lose your
sight if something happens to the one you’re wearing.
Less fundamental, but also necessary, will be some type
signaling device, such as a deployable surface marker
buoy and a reel or spool, as well as a Dive Alert or other
audible device. Of course, you should be proficient in the
proper use of all of your gear.
And remember that redundant gear doesn’t include the
extra brain of a dive buddy. You always need to keep your
mind focused and alert.
There are some “Rules of Thumb” that can be applied to
solo diving:
• Distribute your weights in such a way that both
you and your rig can be independent of each
other. In other words, if using an integrated BCD,
consider putting some of your weights in a harness
or weight belt that you wear. Remember, if you
have to remove the BCD underwater you want to
be able to maintain control of both yourself and
your doffed rig without one sinking while the other
tries to rocket to the surface.
• Manage stress and anxiety by maintaining an
awareness of your pulse and breathing rate. Be
on the alert for signs of narcosis or any other
condition that would lead to distorted thinking.
And adopt stricter criteria for when it’s time to
consider aborting the dive.
• Dive at sites you are familiar with. Avoid sites with
known entanglement hazards, currents, or other
risks that may become unmanageable without
help.
• Always let someone know where you will be diving,
when you expect to be done, and what to do if you
are overdue. It’s always a good idea to contact that
person as soon as you have safely exited the water.
entanglement there won’t be anyone around to help you.
OK, So Am I Good To Go?
Finally, recognize that there are quite a few things that
And finally, you should be comfortable with your ability
As with any aspect of diving, proper training is essential.
to do a Controlled Emergency Swimming Ascent (CESA).
medical problems. So put some thought into what you
At least one agency currently offers a solo diving class for
Because if all else fails, you may have to abandon your rig
would do in an emergency. Use good judgment to conduct
recreational divers. It may also be possible to get training
and swim for the surface.
your dive in a way that minimizes risks. In other words, a
through the judicious choice of a diving mentor – someone
solo dive isn’t a good time to try pushing personal limits
who has the experience and is prepared to work with you
or trying out new gear for the first time.
to assure that you have the requisite skills to dive solo.
no amount of gear will help you with, such as injuries or
52 Technical
Snoot Photography:
Why You Should Consider Shooting with a Snoot
by Steve Taylor
Like most people, when I started taking underwater photos I was advised
Shadows also can make the image more interesting. Consider, for
to use diffusers on my strobes so as to soften the lighting (i.e., remove
example, the image of the Warbonnet above. The photograph would have
harsh shadows) and to broaden the strobe beam. I was able to get
looked flat and boring if there had been no shadows. This shot was taken
passable shots with this approach but too often the soft lighting made
with a single strobe, without a diffuser, making the creature stand out.
the images look flat or two dimensional. I wanted shadows in order to
The strobe was angled so that the light glanced across the Warbonnet’s
bring out the texture of the photographic subjects; that is, to make the
body, highlighting its scales and cirri. This is how I do most of my macro
subject “pop” from its background.
photography; a single strobe, no diffuser. This is not to totally dismiss
diffusers; they have their place but if you want dramatic shadows and
shading, then it is sometimes better to shoot without diffusers.
What if I had just wanted to light the Warbonnet, rendering the background
Snoot photography is a logical extension of the single-strobe-no-diffuser
into darkness? That might have been a good photographic goal if the
approach. The goal of snoot photography is to gain precise control over
background was visually unappealing, such as a bland, sludgy or muddy
the breadth and direction of strobe lighting. The photograph of the Orange
bottom, or a background cluttered with distracting objects. A subject
Peel Nudibranch pictured above, is an example of snoot photography,
highlighted against a black background can make the image look quite
using a fast shutter speed (1/250 sec.) so that image was lit by the strobe
dramatic. This is where snoots can be useful.
and not by ambient light. The snoot was angled so that the beam of strobe
light glanced down the length of the body of the creature, highlighting its
color, shape, and texture, while leaving the distracting bottom in darkness.
What are Snoots?
Snoots are simply light-channeling devices, fitted over strobes,
in order to narrowly focus the beam of light. The example
shown here to the right is one of the commercially available
snoots (from Reefnet.ca). As you can see, the snoot consists of
a mounting bracket that fits over the head of the strobe along
with a bendable fiber optic cable, which channels the strobe
light. Screw-on nozzles can also be used to further narrow the
beam of light. This type of snoot is suited for macro photography.
There are various ways of making your own snoots. Doit-yourself snoots can be useful if you have a particular
photographic goal that can’t be readily addressed with
commercial snoots. For example, I wanted a snoot with
a broader beam than is available from commercial
manufacturers, and I wanted a snoot that I could readily
remove underwater when not needed. Accordingly, I made
a snoot from an old neoprene dive glove. The fingers on the
glove were cut off and the remainder
was fitted over the strobe to create a
crude but useful way of channeling
the strobe’s light. The neoprene can
be folded back over the strobe when
I want to shoot without a snoot. This
kind of snoot can be used for closefocus wide angle photography, where
you might want to highlight some
mid-sized object (e.g., a Rockfish)
while rendering the background
dimly lit or in silhouette, illuminated
only by ambient light.
Applications and Challenges
properly positioned to illuminate
Snoots are most often used to highlight a subject against
of the snoots is typically required
a black background. Snoots can be used to produce a
spotlight effect, where the subject is illuminated as if
on stage, lit from above by a spotlight. This can produce
some nice images but too often it looks contrived. I
prefer to use snoots for cross-lighting purposes; that is,
light skimmed across the subject as in the example of
the Orange Peel Nudibranch.
Multiple snoots can be used, just like in portrait
photography with human subjects, where there is a
primary (key) light and one or more filler lights. The
challenge with this approach, and with snoot photography
in general, concerns the correct positioning of snoots. If
you’re using a fibre optic cable snoot, which has a small
circle of illumination, then your image won’t be properly
exposed unless the snoot is correctly positioned. At the
start of a dive I try to calibrate my snoot(s) by finding a
small rock or other object that resembles the thing I’ll want
to photograph and then angle the snoots until they are
the object. Fine-tuning the angle
throughout the course of the
dive. This is fine for sedentary
creatures such as nudibranchs.
It can be challenging for more
flighty creatures such as Painted
Greenlings and Gobies, but it
can be done. Cabezon are more
patient. Despite their size, a
portrait snoot shot is possible, as
illustrated by the photograph of
a Cabezon’s head, photographed
using a fibre optic snoot. This
type of snoot, with its narrow
beam of light, was sufficient to
provide a detailed photograph of
the Cabezon’s head.
Snoots are also useful for backlighting in macro
photography. In the photograph of the anemone, two
fiber optic snoots were angled back and behind the
Conclusions
Snoot photography can produce dramatic images,
creature, cross-lighting it from behind.
particularly for creatures that don’t mind hanging around
Snoot-Like Alternatives
find the best angles for lighting. If you’re going to try snoot
The alternatives to using a snoot depend on your
mindfulness for snooting. Most of your images will be
photographic goals. If you want to simply highlight your
totally black (underexposed) until you properly configure
subject in a spotlight, you could spotlight the subject by
the snoots. The type of image that you plan to take is an
applying a radial filter in Lightroom or Photoshop. But
important consideration. Snoots are most often used in
the problem is that a radial filter can look like an artificial
macro photography. For small subjects, a fibre optic snoot
spotlight and lacks the subtle play of dark and light that
is useful. For larger subjects, you could use a snoot with
can be achieved when a snoot is used to paint light and
a larger beam or consider using a single strobe, without
shadow across a subject.
diffuser or snoot.
while you position and reposition your snoots as you try to
photography then you need to be patient; cultivate a Zen
56 Technical
Camera Sensors:
Does Size Really Matter?
by Mazyar Jalayer
The sensor in your digital camera is a photoelectric chip
lenses that produces a picture on the image plane. The
principle discussed in this article also apply to those
that converts light coming from the lens into electrical
image plane can be a film or a digital sensor chip. The
sensors. The relative sizes of the common sensors are
current. When investing in a new camera and housing,
digital chip consists of individual photoelectric pixels
illustrated in the diagram below. The largest sensor
amongst other factors, should you also consider the
that produce a current when exposed to light. Just like
shown is commonly designated as the ‘full-frame’ sensor
size of the sensor? The answer will come as a surprise
film that comes in different sizes, camera manufacturers
and any sensor smaller than this is designated as a
as I try to explain the different sizes of the sensors and
also produce digital cameras with different formats
‘crop sensor’. Sensors that are larger than full-frame are
their benefits. By writing this article, I hope I can arm my
(sensor sizes).
sometimes called medium or large format.
readers with the knowledge that will enable them to make
the right selection.
I should note that when investing in a new camera, the
sensor size is one parameter amongst many to consider.
This talk focuses on the sensor size only.
The Common Sensor Sizes
In general, there are four common sensor sizes: 35mm
full frame, APS-C for Nikon, APS-C for Canon and Micro
four-thirds for Olympus and Panasonic. There are many
other sensor sizes available on the market, but for the
The Inner Workings of a Camera
purpose of this discussion as it relates to underwater
Before we can start the discussion on the sensor sizes, we
above. I should also point out that many of the compact
should understand the basic inner workings of a camera.
cameras (those without interchangeable lenses) also
A camera consists of an optical lens or an assembly of
have a variety of smaller sensor sizes. Many of the
photography we will limit our discussion to those listed
Crop Factor or Magnification
was taken with a Nikon full-frame camera, the second
The image circle is the projection of the image that is
using an Olympus EP-3 Micro 4/3rd camera. The same
formed by the lens on the image plane where the sensor
is located. Each camera manufacturer will design lenses
that are appropriate for their sensor size.
If a lens that is designed for a crop sensor is used on a
camera with larger sensor, the image produced from this
with a Nikon D7200 DX-crop camera and the final image
Nikor 105mm f2.8 macro lens was used on all cameras.
In the case of the Olympus, a special Nikon-F to Olympus
adaptor was used to mount the lens. The cameras were
placed at the same distance away from the subject to
illustrate the degree of magnification.
Sensor Aspect Ratio
The aspect ratio of a sensor or the aspect ratio of the
final image produced by the sensor is the ratio of the
image width to the image height. Most sensors utilize the
classic 3:2 aspect ratio. Micro four-third systems, as the
name implies, utilize a 4:3 aspect ratio. The 4:3 aspect
ratio has some benefits over the traditional 3:2 aspect
ratio. Since, 4:3 utilizes more of the area from the image
combination will suffer from severe vignetting. This is
circle, more of the image is captured by the sensor then
because the image circle produced by that lens is designed
it would have otherwise if the image was taken by a 3:2
for the smaller sensor and will only be large enough for
aspect ratio sensor.
that sensor.
Figure 1 – Images produced from different sensor sizes, from right to
left: Full-Frame, 1.5x APS-C DX and Micro 4/3rd
Depth of Field (DOF)
In contrast, if a lens designed for full frame sensor is
It is beneficial to use a crop sensor camera over a full-
The Depth of Field is the effective focus range of an image.
frame camera for macro photography where higher
It’s the distance between the nearest and farthest objects
magnification is desirable. However, this will only work if
in an image that appears to be in focus. The use of shallow
a lens designed for a full-frame camera is mounted on a
(or small) DOF can be effective in emphasizing the subject
crop sensor camera.
while de-emphasizing the foreground and background.
mounted on a camera with a crop sensor, the image
circle formed by the lens will be larger than the sensor,
resulting in magnification. The amount of magnification
is designated by what is we call the ‘Crop Factor’. For
example, the Nikon APS-C has a Crop Factor of 36mm
/ 23.6 mm, or 1.52. Manufacturers typically round the
crop factors to the nearest decimal point. In the case of
Nikon APS-C the crop factor is 1.5. Canon APS-C with a
slightly smaller sensor will have a crop factor of 1.6. Micro
four-thirds systems will have a crop factor of 2.0. Some
compact camera such as Canon G15 will have a theoretical
crop factor of 4.7, provided a full-frame lens is mounted
on the camera.
It is important to note that image magnification is a
function of lens design, the distance from the subject to
the lens and the sensor size. However, if all parameters
being equal, the image produced by the crop sensor will
be magnified by its Crop Factor. To illustrate this concept I
have taken three images, as shown below. The first image
However, in most cases, but not always, increased DOF is
As you may have already realized, the same magnification
desirable for underwater photography.
effect can be achieved if one were to crop the image
produced from a full-frame sensor. As a matter of fact,
many full-frame DSLRs have the ability to produce RAW
cropped images by utilizing information from the portion
of the sensor that can produce an image similar to one
created on a crop camera. This feature is particularly
useful for competition macro photography where rules do
Figure 2 – A photo demonstrating the shallow depth of field
Figure 3 – a photograph with
large depth of field
not allow excessive cropping of the image. The drawback
of cropping an image to obtain higher magnification is at
DOF is related to the lens aperture (f-stop), focal length,
the expense of a reduction in numbers of pixels of the final
the distance from the lens to the focus point and the
image. Low pixel count might limit the maximum print
sensor size.
size. I should also note that higher magnification can also
be achieved using wet lenses and extension tubes. These
If all parameters, such as the f-stop and lens angle of
techniques. however, are beyond the scope of this article.
view, are equal, the final image DOF will be inversely
proportional to the sensor size. This characteristic can
easily be demonstrated in Figure 4. For an image from
a crop sensor to generate the same angle of view as an
image from a full-frame sensor, the crop sensor camera
has to be placed further away from the subject as it is
shown in the diagram. As we know, the closer the object
to the lens the smaller the DOF.
Camera Overall Size
The camera’s physical size is influenced by the size of the
sensor. One of the advantages of the Micro 4/3rd systems
is the compactness of the system. Due to the small size of
the sensor, the image circle is smaller and therefore the
lenses designed for smaller sensors are more compact
and weigh less.
The overall size of the camera/lens is also related to
sensor size. Larger sensors cost more to manufacture.
Lenses designed for larger sensors are bigger and require
more glass and coatings to be manufactured. All these
parameters add to the overall cost of the system.
Image Quality
Figure 4 – Sensor distance from subject and field of view.
Compact cameras have substantially more depth of
field compared full-frame cameras. To achieve the same
depth of field realized by a small compact camera with an
aperture set of f5.6-f8, an aperture of f18-f22 is required
on a full frame format. See Figure 5.
I should also point out the effect of a larger DOF can also
be achieved by simply cropping an image produced on
larger sensor cameras with the lens set at lower f-stop
and allowing more distance between the camera and
the subject. The further the lens is from the subject the
With today’s improvement in digital sensor technology,
quality that is perfectly acceptable for both large prints
and posting online. However, full-frame sensors have the
advantage of having a larger area which in turn means
larger individual pixels. Larger pixels allow more light
gathering capability which translates to better noise
reduction at higher ISOs and greater dynamic range.
Moreover, the larger pixel allows lower pixel density and
sharper image due to a higher diffraction limit.
Recap
To summarize, here is a recap of what we learned so far
Since the DOF is also related to the focal length of the
their advantages.
image and using a lens with smaller focal length (larger
angle of view).
Benefits of Full-Frame Format
• Low noise, higher performance sensor
• Ability to use variety of lenses both designed for
crop and full-frame with wider field of view (wide
most sensors, small or large, produce exceptional image
larger the DOF.
lens, increased DOF can also be realized by cropping the
Figure 5 – The image on the left taken by Eli Wolpin using a Canon
G15 compact camera set at 24mm f8. The image on the right taken by
Mazyar Jalayer using a full-frame camera with DX-Crop mode using a
105mm lens set at f22
about the different sensor sizes while emphasizing on
angle photography)
• Shallower depth of field for bokeh shots
• Brighter viewfinder because of larger lenses
Advantage of Crop Format
•
Cheaper camera body and lenses
•
Lighter and smaller
•
Crop factor magnification for microphotography
when sensor used with full-frame lenses.
•
Increased depth of field
59 Technical
Freediving Photography:
Challenges and Opportunities
by Rick Waines
Image by Kerry Enns
First, my disclosures. I am not an expert in any way on freediving or
Neutral buoyancy: In freediving, weighting is a very delicate balance.
freediving photography, but I would love to share what I have noticed,
You want to carry enough lead to be neutrally buoyant around 10 metres.
or perhaps more accurately, the challenges and opportunities for the
We weight this way in case of shallow water blackouts. One would prefer
freediving photographer.
to be buoyant when one becomes unconscious in the water. Most of the
Challenges
Freediving presents a few challenges to the underwater photographer
and here are a few of them in no particular order.
photography we will do as freediving photographers will be within the
first 10 metres or so.
This creates a problem. I’m sure you have figured it out on your own.
Imagine taking a photo at 7 metres and having to kick to keep where you
Image by Rick Waines
want to be in the water column. One of my friends, when faced with this
I have seen many fantastic macro photographs done on breath-hold. My
problem, found a work around by doing a partial exhale when at the depth
point is simple; I’m not sure that freediving photography is best suited for
he wanted to photograph at. This does solve the buoyancy but it creates
it. The problems of regulating buoyancy, the weight and drag of strobe
increased risk for shallow water blackout so I don’t employ it.
units, and the limited time at depth make macro and huge challenge for
the freediver – or this freediver anyway.
This buoyancy conundrum is one of the reasons I have decided macro
photography isn’t ideal for freediving. Macro photography might best
Gear is heavy: Find a setup that is as compact as possible. You will
be left to the SCUBA divers. Now, before you send me all your amazing
sacrifice some image quality and you won’t be able to to take that killer
macro photography done on breath-hold – wait, please do, I should say
macro shot of a warbonnet in a tube sponge at 70 feet (go ahead, send
Image by Rick Waines
me the photo’s). Carrying a DSLR, in a housing with a strobe setup is not a recipe for a
great day of freediving. What you will gain, however, is fewer first-hand experiences with
“blow, tap, talk” (an abbreviation of how we bring back to consciousness a freediver
that has had a blackout). You will have images that have a little less information, but
you will have safer dives. Not exactly and endorsement for freediving photography, I
know, but what you will maintain is as much of the free in freediving as possible. I think
it is probably safe to say that we freedive, in large part, for the mobility underwater and
the sensation of falling through the water column with only the drag of our body. Every
Image by Kerry Enns
piece of gear you add takes a little bit more of the free out of freediving.
with these limitations are opportunities. A friend of mine calls them beautiful fences.
Opportunities.
them: beautiful places.
So far, it seems like there may not be any advantages to freediving photography. It
Underwater landscape photography: Freedivers cover a lot of ground. We are typically
can seem that there are only limitations. I think what I am finding, however, is that
The obstacles in life that lead us to places we wouldn’t have thought of going without
on the move. We see a lot of the ocean on one dive session. Therefore we see a lot of
the seafloor’s structure, and some of it is stunning. One of the benefits of shooting
underwater landscapes is that it is a subject that typically stays put. You are less
likely to have a blurry shot of a dramatic canyon than you are of a school of perch,
particularly as a freediving photographer.
Natural Light: I have decided not to carry a strobe for the reasons mentioned earlier, so
that means using natural light. No small task in our waters regardless of the time of year.
I happen to love images shot with natural light. One just has to make sure you have your
settings geared toward what it is you are hoping to shoot and then, don’t be shy with the
trigger finger. We don’t have time to set up, or wait for the perfect shot. My tactic is to shoot
tons. Low light and a smallish camera will render many of the images I shoot useless due
to the low shutter speeds and wide apertures, but if I take enough, I will often find one
shot that works.
I realize that this last tactic is a bit of a hackneyed approach but it is the only way I know
how to deal with the low light, limited bottom time, and small camera rigs most of us
mortal freedivers can pack back and forth to 15 or 20 meters in our cold dark waters.
Image by Kerry Enns
Image by Cali Parkin
63 Technical
Creating Great Underwater Videos
Part 7 - Shot Blocking
by Mike Meagher
In this final section in our series, we’ll give some
It is composed of several Scenes. Think of a scene as
consideration to putting it all together and getting that
the set. There were several Scenes. The opening scene
“shot”. Video and film are different from still images in
showing the landing party’s ‘landers’ leaving the mother
several respects. In this article, we will discuss the unique
ship that is one scene. Another scene occurs inside the tent
aspect of multi-dimensionality.
where the protagonist is receiving the hidden plans from
Video = Still Imagery + Time
A still image is static in time; it’s unchanging. However,
video or film gives you the ability to connect a series of
images into a meaningful message over time. This timerichness allows a short film take to convey potentially
much more information to the viewer than any still image.
Sequence, Scene and Shot
Let’s define some basic terminology related to the idea of
multiple images. A Sequence is a high-level portion of a
film that has a related theme or message. For example, in
the recent blockbuster film Star Wars: The Force Awakens,
an example of a sequence is the opening sequence where
the Storm Troopers land, invade the camp on Jakku,
destroy the camp and capture Poe Dameron. That opening
few minutes is all one sequence.
the old, wise man. Then another scene occurs outside the
tent where a battle occurs and our hero is captured.
For any particular scene, there may be one or more Shots
covering the action of that scene. A shot is the actual
camera recording of a few seconds or more story. A take,
is one or many attempts by the director to get the desired
shot. Sometimes they have to try it over and over, and it
may take a terrestrial director multiple takes to get that
ideal shot. We underwater filmmakers often get only one
take, especially when dealing with the elements. Now that
you know these basics, let us move on.
Shot Blocking is Moving Composition
In the still image world, we control composition: the
placement and arrangement of the subjects, and the
background in the image conveying the story. Good
composition will draw the viewer’s eye to the subject and
Example of how a storyboard could be set up.
control what the viewer looks at. There are many books
and internet articles on this topic and we won’t dwell on
the basics of composition here.
But for video or film, for any particular shot lasting a few or
many seconds, you can make use of moving composition.
This is called blocking. When the director blocks the shot,
they decide what the camera initially sees and how the
camera moves. The director may change perspective,
composition and ending of the take or leave everything
as is. The director also blocks where the talent starts at,
what the starting point is, their motion, and where they
end up. The locations where the talent starts and ends are
called ‘marks’. You’ve heard the comment by a director or
actor that they “hit their marks” meaning that the talent
images, but the beauty of video and film is that by
horizontally along on the other side the ship’s mast with
properly executed the directors planned moves and
combining camera moves, changing perspective, selective
the camera tracking the diver. Yet another example of
positions during the take.
focus and by having the subjects move about the image
shot blocking occurs at 1:01 where we see the diver swim
in a planned manner the story is told fluidly.
around the bow.
perspective on the subjects, to set the mood, and also
Blocking your underwater videos doesn’t have to be as
Pre-dive planning and some simple sketches and
transforms time and expresses space, or action and tempo
elaborate, but do try to keep the concepts in mind – a
planning allowed us to get these shots all on just one
during a single take using effecting blocking.
little pre dive-planning will pay dividends. Take a look at
shore dive. Of course, it helped that I had been on this
some simple blocking during a recent promotional film
wreck prior and knew its layout and features. If you
Study some of the works by Steven Spielberg, as he
Exploring the Hilma Hooker (Link below) where most of
plan your shots and block in advance, you’ll be more
is a modern day master at classical composition and
the shots in this dive were planned and blocked in advance
productive during your limited bottom time. Enjoy, and
shot blocking.
with my buddy Jim.
good luck with your video.
Let’s study one small shot blocking example from the
The very opening shot at time 0:01 shows some simple
https://www.youtube.com/watch?v=NP01Cz-ILag
movie Jaws. The scene is when the marine biologist
blocking with a diver swimming on top of the wreck, the
Hooper is preparing to dive into the shark cage. The shot
camera point of view is straight down, the camera is held
Editor’s Note: We would encourage our readers to post a
is of the scuba tanks that he will be wearing, a significant
fairly static, and the divers cross from the bottom of the
link to their videos to the PNW Diver’s Facebook page. What
prop in the film. This whole scene serves to foreshadow
frame vertically to the top of the frame. Another shot
fun it would be to see the applications of Mike’s concepts.
the importance of the scuba tank in the movie.
blocking example begins at 0:17 as the diver is swimming
Don’t be shy. We all need to start somewhere.
A skilled director uses blocking to convey a unique
The shot begins with a close-up of two scuba tanks on the
table inside the cabin. We see two hands pick up a tank,
and the camera pans up and reveals a broad view on the
deck as Captain Quint holds the tank for the suited up
diver, Hooper, to don. Then from outside the cabin, Chief
Brody enters the same cabin and the camera pans back
down to the table as Brody picks up a dive weight. The
camera dwells for a few seconds on the remaining scuba
tank before cutting.
In that one take the camera and talent moved from inside
the cabin, to outside, and back again, from close up to
wide, back to close up, with the three different imageries
combined into one fluid take. If this were shown as a still
image slide show, you would have to show three separate
65 Technical
Apple & Adobe’s
New Tablet Tools
Part 1
by Dan Clements
For the past six months, I have been trying out processing photos on an iPad Pro with an
Apple Pen and Adobe’s new photo editing tools. The results have been pretty good. However, for high-quality editing, you will probably want to use full versions of Photoshop or
Lightroom on your desktop or laptop.
IPad Pro & Apple Pen
First, a little bit about the Apple hardware. I have the large, 12.9 inch iPad Pro, and very
much like it. While it does not have the horsepower of Microsoft’s Surface Pro, it will run
the apps I use daily, many of which are not available on the Surface Pro.
Conclusion
While I like the tablet, the Apple Pen is not up to the Cu-
run full versions of Photoshop or Lightroom, Adobe has
pertino company’s typically high engineering and design
written “lite” versions of these two products, and sepa-
standards. While it has a very comfortable feel, the cap
rated them into different apps.
From my perspective, the results are good enough for so-
There are Lightroom and Photoshop Express apps, plus
use them in print media without further processing.
and charging system are quite lame.
cial media posting and public presentations. I would not
Additionally, the workflow using the tablet applications
In the photo above, for example, the cap covers the light-
Photoshop Fix and Photoshop Mix apps. So let’s see how
ening charger. It is held in place by a magnet. If dropped,
this worked on an actual photo.
is nowhere near as clean and easy as the full version of
stored in a bag for a flight. Worst of all, it is very easy for
Initially, I downloaded a great white shark photo shot in
Fill command to correct the images in much less time.
a young child to remove and swallow.
RAW. The photo had two pieces of chum and some back-
the cap generally goes flying. It frequently separates when
scatter that I wanted to remove (see circled items).
Then there is the charging system. The cap has to be re-
Then I loaded the photo into the iPad tablet app, Photo-
moved (be sure not to lose it!), and replaced by an adaptor
shop Express, then into the Photoshop Fix app. I used the
where one end fits on the end of the Pen, while the other
clone and stamp tools to replace the unwanted elements
plugs into a lightening charger. Very clumsy, but the Pen
in the photo. This process was very seamless and quite
works very smoothly once it is charged.
easy. The Apple pencil works very nicely and is every bit
Adobe Tablet Software
Now that we have talked a bit about hardware let’s review
Adobe’s new tablet software. Since the iPad Pro will not
as good as my Wacom tablet for photo editing.
Lightroom or Photoshop. I would use the Content Aware
And if you are processing lots of images from a shoot, I
have not been able to find any batch operations that work
successfully on a tablet.
From my perspective, the iPad Pro and Apple Pen do not
replace a laptop. It is getting very close, but still not quite
there. While Microsoft’s Surface Pro is a tablet that runs
full-computer versions of Adobe software, there is a lack
of applications, so I still need an Apple or Android tablet.
But it is close! Check out the Part 2 article for a pretty
clever work around.
67 Technical
Running Photoshop on an iPad
Part 2
by Dan Clements
As noted in Part 1, my iPad Pro does not have the power to
soft or Apple). It turns your tablet into a second monitor.
run a full version of Photoshop. However, there is a pretty
And, in the case of Apple, allows you to use the Apple Pen
neat workaround that will enable you to edit RAW images
to edit RAW images on the iPad Pro. This is a much easier
with an Apple Pen on this device.
way of editing images in the field on a laptop.
The key is an app called Duet. This application is installed
Below is a photo of a lion’s mane jelly in Photoshop
on your desktop or laptop, and also on your tablet (Micro-
running on my iPad Pro.
It took some technical support from Duet to get this to
work. I have a new iMac optimized for photo and video
editing, and the graphics card presented some problems.
We resolved it by disabling the graphic processor booster
in Photoshop (Photoshop > Preferences > Performance,
Deselect Use Graphics Processor).
One of the practical applications of this approach is that
my Wacom tablet became surplus. While this has been a
great help in editing photos, it has now been replaced by
my iPad Pro and Apple Pen.
68 Technical
Adobe CC 2016 Release
Photoshop, Lightroom and Bridge See Big Changes
by Dan Clements
On June 21 Adobe
One of the features in Photoshop CC that I really like
straightening subjects like buildings, which will find more
released 2016 versions of
is a new Content Aware Crop. If you crop and rotate
use in landscape and city photography.
Photoshop CC, Photoshop
an image, there are often blank corner areas. Content
CS6, Lightroom, and
Aware Crop automatically fills in these spaces with
B r i d ge . T h i s m a j o r
remarkably good results.
upgrade has several
significant changes. Let’s
Another significant change in Photoshop CC is a full-
look at a few that I have
featured video editor that very much resembles Premier
noticed in the few days I
Pro. Activate the Motion Panel to see how this works.
have had to work with the
new products. Thus far, I
For those of you who have not migrated to the Cloud,
like what I see!
Photoshop CS6 also saw some major enhancements
Photoshop
Adobe has really improved the speed of many tasks by
more fully utilizing the processing power of a computer’s
graphic processing unit (GPU). Processes like content
aware fill are up to 30% faster, for example.
beyond the interface and better use of processing power.
Content Aware Move, which has been in the CC version,
has been added. The Blur tool has been much expanded,
Bridge
For those of us who prefer a Photoshop/Bridge
combination over Lightroom, Bridge also saw some
upgrades. The darker interface option has been included,
as has the more efficient use of GPU processing power.
Thumbnail generation is now very, very rapid.
Many of us use our smartphones to capture images and
video. There is now a new import feature for iOS and
Android mobile devices.
and video editing has also been included.
Adobe has still not reincorporated Export Panel into
Lightroom
routine or Lightroom’s Export to disk or CD.
Aside from the improved processing speed, I have not
There is a significant change to Photoshop’s interface. The
found new features that would greatly benefit underwater
default is a darker background more similar to Lightroom.
photographers. There are some powerful new tools for
Bridge. Users have the option of Photoshop’s batch
69 NEWS
Mooring Renovation Project
Artificial Reef Society of British Columbia
by Alan Wong, Director Special Projects ARSBC
In August 1989, the Artificial Reef Society of British
constant maintenance and replacement. The cost of
Columbia (ARSBC) completed its pilot project with the
maintenance can be expensive for operators and too
sinking of the 178-foot coastal freighter, G.B. Church at
often, the replacement equipment can fall short on
Princess Margaret Marine Park at Portland Island near
durability demanded by the demanding ocean settings.
Sidney BC. At that time, the Church was the largest ship
Ship buoys, lines and associated hardware do wear
to be sunk as an artificial reef in British Columbia. With
out and require a consistent source of standardized
the aim of creating stable long-term marine habitats,
replacements, something that is lacking at present. The
seven more much larger ships were converted to reefs
ARSBC has launched a mooring renovation project to
over the next 26 years.
address this issue.
Once a ship is prepared to international environmental
British Columbia is known to be a world class dive
standards and sunk, it becomes available to the public
destination for many reasons including an impressive
for eco-adventure diving. To provide access for divers
fleet of man-made reefs, so it makes sense to retrofit
to these artificial reefs, it is necessary to mark the ship
the buoy systems on a priority basis. Divers will
location on the surface with floats and associated lines
benefit and appreciate improved buoy systems for
/ hardware. Due to the harsh environment in the areas
their dive experience.
where these ships are located, this equipment requires
Soon after the successful sinking of the former HMCS
embossed tag is blue and made of heavy duty plastic and
Ocean Quest Dive Centre, www.diveoceanquest.com
Annapolis in April 2016, the ARSBC studied the problem
features the former HMCS Annapolis ship crest. This will
#107 - 3790 Canada Way, Burnaby BC V5G 1G4
and developed a solution whereby the diving public could
be an on-going program with the goal of retrofitting all
Ogden Point Dive Centre, www.divevictoria.com
individually donate $20 annually to the renovation
ARSBC artificial reefs in the coming years. Currently, plans
199 Dallas Rd., Victoria, BC V8V 1A1
program and receive a commemorative dive tag. This
are underway to install a new system on the G.B. Church
Pacific Pro Dive, www.pacificprodive.com
is being done in cooperation with the Dive Industry
(Sidney) and the former HMCS Columbia (Campbell River).
101-2270 Cliffe Avenue, Courtenay, BC V9N 2L4
support by distributing the tags to the diving public.
Visit the web site at www.artificialreef.bc.ca for more
Rockfish Divers, www.rockfishdivers.com
It is worn by the diver and indicates that they have
program details as well as our current list of charter
3945B Quadra Street, Victoria, BC V8X 1J5
supported the renovation fund. The tags are good for
and retail supporters.
Association of B.C. and other parties who provide
all the ARSBC wreck sites and are available through
Sea Dragon Charters, www.seadragoncharters.com
local charter operators or scuba shop retailers.
6409 Bay St, West Vancouver, BC V7W 3H5
Industry Partners
Abyssal Dive Charters, www.abyssal.com
406-555 W 28th St., North Vancouver, BC V7N 2J7
International Diving Centre, https://diveidc.com
2572 Arbutus St., Vancouver BC V6J3Y2
Nanaimo Dive Outfitters, www.nanaimodiveoutfitters.ca
2205 Northfield Rd., Nanaimo, BC V9S 3C3
New World Diving, www.newworlddiving.com
467 Kelly St, New Westminster, BC V3L 3T8
Each year, a new tag will be produced with a new colour
and graphic as part of the collectible tag series. The 2016
Ocean Pro Divers, www.oceanprodivers.com
3189 King George Blvd. Surrey, BC V4P 1B8
Sunshine Kayaking, www.sunshinekayaking.com/
35Box 35, Molly’s Lane, Box 35, Molly’s Lane, Gibsons, BC
V0N 1V0
About the Author
Alan Wong, is the Director of Special Projects for the ARSBC.
He is a technical diver and videographer who not only dives
extensively locally, but has also enjoyed diving in Mexico,
Hawaii, Cuba, Key West, and Bonaire. Recently, Alan was
a member of the team that worked on the former HMCS
ANNAPOLIS, which was involved with material removal, site
surveys, clearance diving, and diver up-line installations.
71 NEWS
Top Island Econauts Host
Extravaganza
by Kerry Enns
For more that 30 years, Vancouver Island’s
More than 45 sponsors contributed prizes for
Top Island Econauts have been hosting
the raffle from small Mom & Pop businesses to
an event that not only celebrates diving
well-known corporations such as Overwaitea.
but raises money for socio-environmental
efforts. The May Long Weekend Dive
Participants did a minimum of four dives
Extravaganza is of one of the biggest and
during the weekend at local sites such as
most longstanding scuba diving events in
Bob’s Spot, Plumper Wall, Warbonnet Wall,
British Columbia. The event takes place from
Marg’s Wall, Gumboot Wall, Plumper Rock,
Telegraph Cove.
Stubbs Island, and NE Pearse. Dives were
timed for optimal slack.
This year more than 80 divers gathered, representing several
British Columbian dive clubs: Aquarius Scuba Club (Esquimalt/
The Top Island Econauts Dive Club is a non-profit society aimed
Victoria); Duncan Divers; Coquitlam Scuba Club; Vancouver
a facilitating safe and ecologically sound recreational diving on
Pescaderos; Campbell River Tide Rippers; and the Top Island
northern Vancouver Island. www.econauts.org
Econauts (Northern Vancouver Island). President Jackie
Hildering commented, “What brings this many avid cold water
divers together? The extraordinary marine life of this area and
wanting to learn about it; camaraderie; and some pretty serious
fun. The theme of “pirates” certainly added to the merriment
Photo credit group photo: Jackie Hildering
this year.”
Photo credit pirates: Jacqui Engel
72 NEWS
Halkett Marine Park Expansion:
Many Hands Make Light Work
by Adam Taylor
On May 26, 2016, the BC Minister of Environment
The 100% volunteer effort pooled the resources and
and develop a Management Plan for the expanded park.
announced the expansion of Halkett Provincial Marine
data from each of the organizations, outlined the
This plan will focus on conservation, research and
Park on Gambier Island to include the neighbouring
importance of the unique sponge reef ecosystem and
recreational values. Based on these meetings, BC Parks
glass sponge reef.
the habitat and recreational values of the area. The
will be approaching DFO regarding fishing closures
working group successfully gained support from local,
to prevent impact damage to the fragile sponge reef,
This increase comes as a result of a proposal submitted
regional, and First Nations governments, as well as
and will be looking to the dive community to ensure
by members of the Underwater Council of BC, Marine
local MLA Jordan Sturdy, who championed the proposal
any negative impacts caused by dive activities are
Life Sanctuary Society of BC and Vancouver Aquarium.
in the Legislature. This sponge reef and neighbouring
mitigated.
With the traditional marine protection process through
sponge garden both occur within Recreational Diving
Department of Fisheries and Oceans stalled the group
limits.
to within 75 feet of the surface, the sponge reef itself
sought the advice of Mel Turner, a retired BC Parks
Planner to try a different approach.
The rocky pinnacle where the reef is located comes
Further meetings will be held with BC Parks and Ministry
begins in 110 feet of water on the shelf alongside the
of Environment staff to outline the various ecosystems
pinnacle. As divers, this provides a unique opportunity
to not only visit a globally unique habitat but help study it. We must view
this opportunity as a privilege, not a right, and if noticeable damage is
being caused by visiting divers, the site will be closed to divers to protect
the unique environment.
Based on initial discussions, fundraising has begun for the installation
of a Divers Mooring Buoy and Citizen Science stations on the site. To
ensure divers do not damage the delicate glass sponge reef, a Sponge
Diver Specialty Course has been developed.
This course was developed by Greg McCracken of Oceanquest Dive
Centre and includes information specific to sponge reefs, advanced
buoyancy and deep diving skills. Instructors from other shops will be
the first group through the course. This ensures the dive community has
multiple options for participating in future Citizen Science initiatives.
Keep watching the UCBC and MLSS websites and Facebook Pages for
further details on how the dive community can become involved. There
will be a Divers Social at the Vancouver Maritime Museum on September
14th which will focus on the Halkett Park Expansion and is being hosted
by the Underwater Council of BC and Marine Life Sanctuary Society of
BC. Divers are encouraged to attend.
For further information please visit:
UCBC http://underwatercouncilbc.org/projects/citizen-science.html
MLSS https://mlssbc.com/programs/sponge-research/
Cradles of Glass https://www.youtube.com/watch?v=yLVsmBf5pVQ
Images by Diane Reid
Video by Roy Mulder
74 Travel
Avoiding Dive Travel Anxiety:
How to Take the Plunge into Overseas Travel
by Marli Wakeling
blue water and big pelagic animals or soft corals or
Philippines two weeks before my departure) that there
strange critters from macro photography destinations.
are few places for great tropical diving right about the
time of year we want to get away the most! Hurricanes,
Considering a dive trip abroad can feel a bit overwhelming,
cyclones and typhoons have a nasty habit of appearing
particularly if one hasn’t traveled overseas before. Some
during our autumn in many spots on the globe, so check
find it so intimidating that they never dive anywhere
the weather for the region that you are considering.
outside their own local area. This is a real pity, given the
wondrous experiences one can enjoy while diving around
Weather Underground has historical weather data on their
the world.
website for any destination: https://www.wunderground.
com. Undercurrent.org also has a dive calendar that
“By failing to prepare, you are preparing to fail.”
- Benjamin Franklin
After 20 years of dive travel, one would think it would
highlights the best time to dive in a given destination:
be easy and stress-free for me to take a dive trip. It was
http://www.undercurrent.org/UCnow/planner.shtml
a bit easier years ago when I could take 140 pounds
Assess the water temperature and visibility for your
Many divers in the Pacific Northwest spend their first
of checked luggage to the South Pacific! Now, the
few years after certification diving locally. With the
organization of dive and photography gear while staying
cost of dive travel spiraling upwards and the expense
within baggage allowances is a challenge. However,
of dive and photography gear, overseas dive travel is
cold water photographers and videographers tend to
often dismissed by keen cold water divers without a
be detail oriented, which is an advantageous asset for
substantial lottery win in their bank account. Right
dive travel planning.
about November, some of us start to think that it
would be great to escape the rain and cold and travel
somewhere exotic, wear a 3mm wetsuit and ditch the
hood and gloves. We look longingly at photos of clear
When to Travel
The dream of traveling in dreary November is appealing.
I learned quickly (when Typhoon Hainan struck the
Historical Weather for Lembeh Strait Aug.9th-15th. 2015
desired destination, by a particular area, rather than
newsletters, as there are often special rates offered.
only plan on two dives
by country, as conditions can vary greatly over a short
Obviously, your work schedule may necessitate a little
per day so that you
distance. The best times for diving may not be when you
negotiating with your boss. The further ahead your travel
can enjoy the evening’s
had planned to travel; perhaps another option is a better
planning, the better in attaining your desired dates.
entertainment. Never
assume the critters that
choice. It’s also not a bad idea to check the lunar cycle as
it can significantly affect currents. A full moon can look
Don’t obsess about language issues. Most dive operations
an area is famous for are
pretty from land, but may bring forth ripping currents that
have English speaking staff. However, it does go a long way
a guarantee: neither the
will limit your photographic opportunities.
with the locals to learn “thank you”, “good day”, “excuse
famous Minke Whales
me”, and a compliment in the language of your chosen
in Australia nor the
destination. If you try, then most will double their efforts
Psychedelic frogfish
in return. The app Duolingo is a great place to start.
in Ambon showed up
for me! Certainly, I
If your budget is limited, then consider destinations that
was disappointed, but
are lower in cost like Cozumel, Roatan, or the Philippines.
there are always other
Flights to Asia from the Pacific Northwest and British
interesting things to see
Columbia are often similar in cost or even less than flights
and photograph.
If you enjoy nightlife, you may wish
to limit your daily dives
to the Caribbean, while prices for accommodation and
diving once there tend to be lower, except at the very high-
Finally, in choosing your destination, think about what
end resorts.
you enjoy photographing. If you relish super-macro
subjects, you might prefer Lembeh Strait or Anilao to
Dive magazines promote Caribbean dive areas more than
Socorro. If your eyes won’t focus on the small stuff, buy a
Pacific destinations due to their proximity to Eastern North
prescription mask and head to Bonaire to check out the
Choosing a Destination
American residents, and U.S. based companies doing
hilarious tube blennies or if the little stuff doesn’t float
If you are thinking about exploring a foreign dive
they can be pricey unless offseason, or you could choose
For big mantas, head to Socorro
destination, the best things that you can do are to
research the destination and to plan your budget. Some
destinations have a narrow window of prime dive time,
due to weather. This makes availability limited, so you
have to plan far in advance. This applies especially to
liveaboards in places like Raja Ampat and Socorro that are
booked years in advance. Certainly cancellations occur,
but flights tend to increase in price as departure dates
loom. If you are thinking about a high-end liveaboard
trip, plan far in advance. Sign up for liveaboard company
business there. Due to the popularity of these destinations
to shore dive as you can do on Bonaire.
You will find that many excellent dive resorts in Asia are
owned and run by Europeans and are rarely advertised in
the North American dive press. Choosing a destination that
is known as a dive destination, rather than a general tourist
destination, in most instances means more competition
amongst dive operators, which helps to keeps costs down
and the quality up. If you want nightlife, then choose a
tourist destination known for more than just diving and
If you dream of Pygmy seahorses, then take a trip to Anilao
your boat, head to the Sea of Cortez for sea lion and whale
the resort directly for dive packages. Some resorts will only
shark photography, or the Maldives for mantas.
book through agents; others will take direct bookings. Ask
for a discount if you book direct or are going with a group
of friends.
If wrecks are your thing, think of Truk, Vanuatu or Coron in
the Philippines. There’s no sense in setting yourself up for
disappointment if you are very selective – aka picky – like
Do not base your choice solely on price. Some resorts may
me. You might also see what topside attractions may be
be out of your budget; however, once you find a resort
nearby, and plan an afternoon of sightseeing.
that fits your budget, check what is actually included in
your package, so there are no surprises. Many dive resorts
do not include any meals, or only breakfast. A dedicated
Bonaire is a great destination for both macro and
wide angle photography
dive resort usually offers a meal and diving package;
it is generally more economical than paying for meals
separately. If I am diving three or four dives per day, I don’t
wish to think about where I am going to eat; I am too busy
dealing with the photo gear and checking my images. The
dress code at dive resorts is more casual as well, so you’ll
have fewer clothes to pack! If you don’t do well in tropical
temperatures, make sure that your room has A/C rather
than a fan or nothing at all.
My day trip to Oslob to dive with whale sharks was expensive, but
money well spent
Park fees are charged at some locations for taking a camera
or to support Marine Parks. Other resorts will provide a
weekly rate for Nitrox, while others charge per tank, which
There are great shore dive sites on the island of Bonaire
Choosing a Resort
I am a big fan of TripAdvisor: https://www.tripadvisor.com.
It is an excellent source for the lowdown on dive resorts
and non-dedicated resorts. People write in about their
experiences. Look at all of the reviews; one disgruntled
If you like big animal encounters, choose a destination like
The Sea of Cortez
client should not make or break a decision. TripAdvisor
will not quote dive package rates, only nightly room rates.
You will have to check with a dive travel agency or contact
A good dedicated dive resort caters to the needs of underwater
photographers
Independent or Group Travel?
You dive to the bottom of the ocean, and want to hang
more night dives in a package while others will charge
I heartily recommend group travel for the uninitiated
you educate yourself.
extra. Some will provide free tanks for shore diving, while
and those traveling solo. There are agencies, dive clubs,
others charge. What is the Guide/DM to guest ratio? How
underwater photo stores and individuals that take the
Check out your government’s policies on travel to your
many divers are on each boat? As a photographer, I do not
worry out of planning; they organize the bookings, provide
desired destination. You can also register your trip details
wish to be in a large pack of divers. How far are the dive
you with flight information and answer all of the questions
and contact information with your government, before
sites from the resort? What other amenities are at the dive
that you might have in advance, saving you the trouble of
traveling. There are lots of destinations, so check the
can add up. Ask for a weekly rate if you plan on doing
numerous dives per day. Some resorts provide one or
out with sharks, so it is all relative regarding safety if
resort? Is there a camera room? Will someone meet me at
current political situation in your destination of choice.
the airport? These pointers are simply a starting point for
USA: https://travel.state.gov/content/passports/en/country.html
your questions and research.
Canada: https://travel.gc.ca/
I recommend creating a list of questions and sending
Insurance
them all at once to the dive operator or resort, rather
You are spending a whole chunk of change on your trip.
than pestering them every time you think of a question.
Why would you want to skimp and risk losing it all due to
The more you know ahead of time, the less anxiety you
will have. If there are extra charges for excursions or
a political problem, natural disaster or health issue of a
A liveaboard is a great option for solo travelers and those that want
to maximize their dives
loved one? Get serious! If you want to relieve any travel
the extra cost is worth it. I will always remember my very
researching everything yourself. I have met some great
Trip Delay Insurance is a no-brainer. Yes, it’s not cheap,
expensive whale shark dive in the Philippines; I am so glad
people from all over the world this way by booking with
that I decided to go! It was terrific.
agents in other countries.
special dives, always put them into perspective: if it is
an opportunity that you may only have once, perhaps
Some photographers and naturalists also lead trips
to favorite destinations, providing an educational
component to your dive trip. Another option for the solo
diver is a liveaboard dive holiday. The bonus in booking
liveaboard travel is that you won’t pay a single supplement
if you are willing to share and you’ll meet someone new;
the downside is that you don’t know your roommate until
you arrive. Consider it all part of life’s great adventure!
For biodiversity, the Coral Triangle is the hot spot on the planet
anxiety, Trip Cancellation, Excess Medical, Baggage and
about 10% of your trip cost. The older you are, the higher
the premium. Baggage insurance will not cover the entire
value of your dive gear or photo equipment, so insure
anything expensive that is in your checked baggage on
your home policy, or through Diver’s Alert Network if you
are a U.S. resident. You also need at minimum Emergency
Evacuation insurance, available from Diver’s Alert Network
or Dive Assure. Peace of mind for you and your travel
buddies is well worth the premium.
I use Travelguard, but there are other travel insurance
The Unstable World
companies as well. You can book a travel policy online. If
Sadly, there are places in the world where horrible
Network and Dive Assure have policies that will cover you
things happen. It is the world in which we live in today.
more economically than paying for each trip separately.
you are planning multiple trips in one year, Diver’s Alert
Documents and Visas
Tipping
to do a basic photo dive, and perhaps a change of
Your Passport should have a minimum six months’ validity
Tipping is always a delicate subject, and I suggest
past your planned date to exit the country that you are
asking the dive operators what would be reasonable
website for what can be in your checked baggage;
visiting. You may have to renew early. Check whether
for good service. Most will be honest, but some suggest
a Visa is required for your destination. Some countries
tips based on a percentage of your package price. I do
allow a Visa upon entry for a fee, while others require it in
not recommend tipping on a credit card, as staff may
advance, by applying to the Embassy or Consulate in your
not see the proceeds. Use U.S. cash, with newer bills,
country. Others do not require one at all. You can find this
or the local currency.
information online by visiting the website of the Embassy
or Consulate of the country situated in the USA or Canada.
Health Concerns
I travel with a basic First Aid kit. I do this as I am often
traveling solo, or have unprepared guests in a group
that I have organized. Be sure to include cold and sinus
medication and drops for ears to avoid being sidelined,
and iodine for treating scrapes and cuts.
I recommend visiting a Travel Clinic at least a month
ahead of departure for expert advice if you are traveling
off the beaten path. Some of your vaccinations probably
need a booster anyway, and they may recommend a “just
in case” prescription for foodborne illness. For short dive
trips, where you do not venture outside the resort, few
precautions should be necessary.
The biggest threat to one’s health while traveling is the
Tipping is more prevalent in areas frequented by North
Americans and run by North American companies. Some
people feel that tipping shouldn’t be necessary. The reality
is that the staff use tips to house and feed their large
extended families. Always tip a special guide privately so
as not to cause ill will amongst employees. Remember
that many people work to make your trip enjoyable.
Many work behind the scenes, manning the compressor,
repairing and maintaining the boats, cleaning your room
and preparing your meals. To only tip your guide is unfair.
However, if you are doing guided diving (as opposed to a
clothes, within carry-on limits. Check your airline’s
what is the maximum weight allowed, and what must
be in your carry-on as opposed to checked luggage?
This is particularly important for focus and video light
lithium batteries. U.S. airlines serving the Caribbean
and Mexico have a generous carry-on policy. To travel
anywhere else, you are extremely limited.
For those of us that shoot a DSLR or large Video system,
you will probably not be able to bring all of your gear as
carry-on. My advice is to ditch the big waterproof hard case
for your carry-on bag. Most hard cases are hefty, except
the new Pelican Air cases. Consider using a regular, nondescript small roller board case, or a backpack. I install
the dividers from my hard case in my lightweight carry-on
bag. I can include my housing within North America and
the Caribbean, but not when traveling to Asia. I bring a
compact backup set-up in my carry-on instead and check
my housing.
dive master watching you), the tip should be reflective of
the time and energy spent on satisfying your photographic
objectives. Always ask the management how they prefer
tips to be distributed. Some operators collect all of the tips
and give them out at specific times of the year.
mosquito, wherever you may travel. Bring DEET insect
Packing
repellent and use it. If you are in an area where mosquitos
What is essential for you to dive, given that rental
are obviously prevalent, ask for mosquito coils to be lit at
dive gear is available? That should be in your carry-
night. If there are mosquito nets over your bed, use them.
on. If you have a prescription mask, it should be in
Check to see if malaria prophylaxis is needed. If so, take it.
your carry-on. Pack a bathing suit, any necessary
medications, toiletries, everything that you need
Photograph your packed carry-on bag
having to pay excess baggage charges on domestic routes
within Asia or Central America. Once you have packed your
carry-on, photograph it while open. After a lot of diving, I
am fatigued, so I have a labeled print-out of my carry-on
packing and photograph in the bag. If traveling through
the USA, I attach a list of equipment to the inside of each
checked bag, with a thank you to the T.S.A. for respecting
my gear! Keep a list of your equipment and serials numbers
with your important documents.
So many things to consider – but if well prepared, your trip
will be a breeze, and you can concentrate on your diving
and photography! Relax and Enjoy!
If super-macro photography is your thing, head to Indonesia
There are amazing dive opportunities both here and
abroad. Just as one prepares for a cold water dive trip,
one has to prepare for a warm water trip. Be sensible.
Be practical and prepare yourself for an incredible
adventure! The memories that you will earn will well
outweigh the hassles.
Try a prescription mask to enjoy the small stuff if your eyes are aging
About the Author:
For your checked baggage, sturdy, high-quality duffels Marli Wakeling is a stock photographer and underwater
on wheels are a good choice, particularly for liveaboards, photography instructor based in New Westminster, BC.
where space is limited. Make a list of what you have packed After many years of cold water drysuit diving, she traded
in each bag. Pack delicate gear wrapped in clothing into it all for warmer waters and her teaching career for
plastic totes, and add a bungee cord or duct tape to secure the joy of retirement. She now enjoys organizing group
the lid. Once you have packed your gear, weigh it. There travel for underwater photographers and nudibranch
are small digital scales available. I bring mine along, in fiends to destinations in the Coral Triangle. Her favorite
case there is a disagreement, and to help pack properly dive destination is Lembeh Strait, Indonesia. www.
when coming home. It can also help to have it along when marliwakeling.com
Topside sights can be just as exciting as those below the surface
80 Feature Operator
Featured Operator:
Mike’s Beach Resort
The Schultz family has owned the resort since 1951. Mike took over the
Most of the structure is within a 40-foot depth. A canyon off the north
operation in May 1988, and today runs it with Iliana, his Columbian-
end of the dock gives quick access to waters over 100 feet deep. Marine
born wife. It is one of the oldest resorts on Hood Canal with a rustic
life in this area includes anemones, rockfish, perch, and octopus on
Northwest feel. Beside waterfront cabins, there are RV and tent sites
structures around 60 feet.
at the resort. See the picture gallery on their website.
The two extensive south reefs offer interesting diving for photographers.
Located on the west side of the Canal, Mike’s Beach Resort has long
Access is from shore, by boat, or by dive kayak. The reefs are stepped,
been a SCUBA diving destination. Shore diving is accessible almost
with abundant life around 20 feet, at 40 to 50 feet, and at the cloud
directly from all rooms. Artificial and natural structures in the water
sponge gardens around 100 feet. Rockfish abound, as do Lingcod and
support a wide variety of sea life.
perch. Plumose Anemones cover the rocks, and Wolf-eel and Giant
Pacific Octopus are plentiful.
In addition to diving at the resort, access to
the nearby Flag Pole Site is free to guests,
while non-resort guests must pay $15 per
person for beach access to the site.
Further to the south is another great
dive locale: Sund Rock. And just north
in Brinnon is Don Coleman’s Pacific
Adventure: an outstanding operator with
superb dive locations.
The resort contains a waterfront airfill station. Another nice amenity for
photographers is a large commons area
and theater for post processing and viewing
photos and videos.
So, if you are looking for some excellent
diving on Hood Canal’s west side, consider
Mike’s Beach Resort as an operations base.
Mikes Beach Resort
38470 N US Hwy 101
Lilliwaup, WA.98555
360-877-5324
http://www.mikesbeachresort.com
82 Feature Operator
Featured Operator:
Sunshine Kayaking
Sunshine Kayaking has been in business for 25 years
Islands, Keats Island, Hutt Island, Gambier Island and
and comfort. The back area has a deck wash down hose
operating out of Gibson’s Landing. Captain Greg Suidy,
the Annapolis with their cruiser. Some of these dive
with a fresh water tank for rinsing gear. The dive ladder
the owner and manager, has a wealth of experience
locations are unknown and have never been promoted
at the stern leads to a walk-through transom for easy
being on the water. Sunshine Kayaking has now
as excellent diving sites.
access to the deck. The boat can get to any dive sites
in all of Howe Sound with 25 minutes.
expanded their operation to provide diving charters
throughout the Howe Sound. This fills a void especially
The boat is a 32 foot Eaglecraft Cruiser with a large
on the west side of the sound. Sunshine Kayaking
cabin for warmth. From the back entry, the diver can
Divers can book the boat privately by the hour or
Dive Charter provide service to the west side of the
immediately enter the cabin. The boat is also Transport
individuals can book a spot on a charter. If 4-6 people
Howe Sound. Their location makes traveling to dive
Canada Compliant to carry up to 12 passenger, but
are booked, then the charter is $135 per person. This
sites quick, taking only 5 - 12 minutes to get to Pasley
diving charters only take 6 people due to weight, safety
rate includes two boat dives, two filled tanks and
weights, a DM on board and hot beverages Some of the Howe Sound Dive Sites Keats, Bowen & Hutt Islands:
and snacks during the surface intervals. available from Gibson’s Landing:
Keats Island Eastbourne Reef
Discounts are available for those providing
Hutt Island North End Reef
their own tanks.
Pasley Island Group Reefs:
Hutt Rock South Reef
Ragged Islet Reef
Collingwood Channel Reefs
Hotel packages are available for divers. Balfleur Passage Deep Reefs
Bowen Western Day Marker Reef
Since Gibsons Harbour can only be Home Islet
Fairweather Bay Reef
accessed by boat, it is a quaint little Popham Island East and West Reefs
Millers Landing
harbour town waiting to be explored with Worlcombe Island Reef
Bowyer Island:
hiking, kayaking, cycling, restaurants,
shopping, etc.
South Sound Reefs:
North and South Reefs
Passage Island Reefs
South East Finger Reefs
Sunshine Kayaking works in partnership Bird Islet
East Shore Wall
with Seadog Divers Den, which is the only Grebe Islets Reefs
Diving Shop on the Sunshine Coast located
North End of the Sound:
in Sechelt (20 minutes from Gibsons) for Gambier Island:
Ellesmere Creek Reef
rentals and air fills. Sea Dog Divers Den, Bridage Reef
Defense Island
now operated by Jaime Mackinney, was Various Halkett Bay sites
Porteau Deep Dive
formally Suncoast Diving Center for many Carmelo Point Reef
Anvil Island Wst Wall
years. Jamie has over 30 years diving on Hope Point
Christie Islet
the Sunshine Coast.
Pam Rocks
Sunshine Kayaking - Fishing & Diving
Charters - Sailing & Harbour Tours
Mollys Lane, Box 35, Gibsons Landing
Harbour, BC, V0N 1V0
Phone
604-886-9760
Toll Free 1-855-566-9760
http://www.sunshinekayaking.com
84 Your Story
Your Lens.
Your Story.
This is our readers’ turn to shine and to show what they have learned or
experienced. Please submit entries to [email protected].
Spotted Rat Fish Laying Eggs
By Jim Mendria
This shot was taken in Barkley Sound on Renate Reef last July.
We were diving with Rendezvous Diving and Adventures in
Rainy Bay, Barkley Sound.
This female Spotted Ratfish is in the process of laying her two
fertilized eggs. The female will release these eggs into the sandy
bottom every 10-14 days. This process of extrusion can last 1830 hours and the laying for a few days. These leather-like egg
sacs will be connected to the ocean floor. Once the eggs are
laid, she may hover around them to prevent predators. Sadly,
these eggs are occasionally mistaken by divers for debris. When
the young hatch, they will be about 14cm long.
Camera is an Olympus E-PL 3, 1/80sec, F/8, 17mm (which is
equivalent to 28mm on a full frame camera).
Fluorescence Photography at Port Hardy
By Steve Taylor
In a recent article in PNWD, Kerry Enns and I wrote about the challenges
and rewards of fluorescence photography in the pacific northwest. All
the images in that article were taken at dive sites around Howe Sound. I
had not seen fluorescence images from the Port Hardy region, which has
world class cold water diving sites such as Browning Pass. Accordingly,
on a recent trip to God’s Pocket Resort near Port Hardy, I was interested
in doing a fluorescence night dive. The two images shown here were taken from a night dive off the dock at the resort. In terms of daytime diving
everything in the Port Hardy area is bigger, brighter, and more plentiful than what we see in Howe Sound. The same applied to underwater
fluorescence. Big hermit crabs fluoresced brilliantly, as did large (8 inch
diameter) anemones, which were too large to photograph with my 60
mm macro lens. The images shown here were taken at the house reef. It
would be very interesting to do a fluorescence night dive at the best dive
sites in the region, such as Browning Pass wall and Seven Tree Island.
Dan Clements
Washington, USA
Founder/Columnist
Dan is an adventurer who has a deep appreciation
and respect for the world’s natural wonders and
life in its many varied forms. He has climbed, skied,
sailed, SCUBA dived, and traveled throughout the
world. He has made first ascents in North and South
America, and run major white water rapids in Africa
and the Western Hemisphere. He wrote the now sold
out Critters, Creatures, and Kelp in 2009.
He was fortunate to have parents who exposed him
to Hopi, Navajo, Seri, and Lacandon First Nations
populations. Later in life he was privileged to be able
to spend time among the Bushmen (San) of southern
Africa, and Qechua and Aymara in the Andes. He is
working to try and increase knowledge and appreciation of Pacific Northwest indigenous populations.
He holds an MBA in international finance and has sat
on boards for United Way, Housing Hope, Cayenta
Systems, Eden Systems, Snohomish County Public
Facilities District, and Ibis Publishing.
When he is not underwater photographing he enjoys cooking, back country skiing, distance running,
mountain biking, and opera. Everett, Washington is
home base and where he and his wife Karen raised
two sons.
Kerry Enns
British Columbia, Canada
Editor/Publisher
Kerry grew up in Brazil as a missionary’s child and
moved to Wisconsin at the age of 10. While her father
worked on his studies, she entertained herself by
cycling, swimming and fishing and earned spending
money by delivering papers and babysitting. Her
family moved to Winnipeg during her high school
years. After graduating, she found herself heading to
British Columbia to go to Trinity Western University.
She married and stayed in BC raising 2 children.
She holds a degree in Geography and is certified to
teach elementary and middle school students. She
currently works part-time as a Teacher on Call in
order to fund her diving, photography and travel.
She enjoys traveling and has had recent visits to
the India, the UK/Ireland and Maui. She hopes to
continue to travel as much as her finances allow it
and would like to someday dive the beautiful tropical
waters world wide. She particularly wants to visit
Brazil, not only to dive but to work on her fluency of
the Portuguese language.
She has recently taken up freediving and hopes to
learn photography in that new venue.
Talia Cohen
Creative Consultant
Talia grew up in South Africa, and has lived in Missouri, Rhode Island, and New York. She now calls
Vancouver her home with her husband and 2 dogs.
She is a Creative Director, and has attended the
Rhode Island School of Design, Brown University,
MIT and Babson. Talia has produced work for some
of the world’s leading companies and organizations
including Unilever, General Mills, SportChek, and The
BC Dairy Foundation.
Since a young age she has been enchanted with
the world below the surface. And, when not at the
studio, she takes every opportunity to explore the
underwater world, camera in hand.
Bob Bailey
Washington, USA
Guest Columnist
Dale Carlisle
Columnist
Certified in 2007, Dale is interested in several facets
of diving. As a long time fishkeeper and naturalist,
he loves being able to access the aquatic realm in
order to better observe fish habitat and behavior. In
2010 he began a long term study of a local lake (The
Cultus Lake Project) in order to learn more about an
endangered species of fish that resides there.
Out of that interest, he began learning how to capture
images of his subjects and continues to develop
his underwater videography as both a vehicle of
communication and art form.
Dale also enjoys researching the historical aspect of
diving and often uses vintage era gear and techniques
himself, which he shares with others at
www.manfish.ca.
Andy Lamb
Mazyar Jalayer
Scientific Consultant and Columnist
Guest Columnist
Andy Lamb is a marine naturalist and educator who
has worked as Chief Collector at the Vancouver
Aquarium and as a fish culturist with Fisheries and
Oceans Canada. He is the co-author of Coastal
Fishes of the Pacific Northwest and Marine Life of the
Pacific Northwest: A Photographic Encyclopedia of
Invertebrates, Seaweeds and Selected Fishes, both are
found in almost every diver’s library of the region.
Maz is driven by his passion for photography, the
environment and cultures. He enjoys cold water diving,
and he loves to capture the bizarre and wonderful
creatures and landscapes of the underwater world.
Maz’s love for photography began at the age of 16
when he first learned to capture images on film. Since
then over the years he has shot topside images which
have made their way into travel guide books, science
and physics textbooks. Until recently he fell in love
with scuba diving and has continued his passion for
photography underwater. He strives to create images
that are artistic, and he is continuously looking
forward into implementing creative photographic
techniques underwater.
Andy has served as the team for PNWDiver since the
beginning and helps members identify marine life and
keeps us abreast of news in the scientific community.
http://www.cedar-beach.com/about.shtml
[email protected]
Taking that first breath off a scuba regulator in February
2001, I knew I had discovered something very special.
I’ve since logged more than 2,500 dives most of them
here in Puget Sound, the San Juan Islands, and several
places along the coastal waters of the Olympic Peninsula,
British Columbia and Vancouver Island. I have also dived
in California, Florida, Belize, Cozumel, Roatan, Bonaire,
Hawaii, and Indonesia.
In 2003 I became a NAUI divemaster and spent the next
year and a half working with several instructors learning
how to teach classes, manage students, and help people
improve their diving skills. In 2004 I became a NAUI
instructor, and in 2006 a DAN instructor.
Besides teaching scuba, I enjoy underwater photography
and technical diving. I am a NAUI Trimix 2 certified diver,
and have explored many of the deep wrecks found in
Puget Sound and Lake Washington. I have also pursued
my passion to Florida, where I learned cave diving. When
I’m not teaching classes, I am usually either planning my
next diving trip or just enjoying a local dive with my friends.
Diving for me isn’t just a recreational activity … it’s a way
of life.

Chad Tamis Bill McKinnon Marc Damant Rick Waines

Transcription

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